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在澳大利亚悉尼，伊丽莎白湾是当地最漂亮的海湾之一。正对海湾的高坡上,矗立着一座古老的巨宅。这是澳大利亚重要的建筑之一，称作Elizabeth Bay House。一百多年前，这里有个很大的花园，数十公顷的草坪，围绕着这幢豪宅,就象巨大的海蚌，包含着一颗珍珠。而今天，花园和草坪已荡然无存，取而代之的是成群的公寓。大宅不甘被楼宇淹没，凭借高坡的地势，依然是那么醒目和雄伟。
这天晚上华灯初上，人群熙攘，正是著名艺术家简·黛尔(Jayne·Dyer)展览的开幕式。展览没有办在通常的画廊或美术馆，而选择了这幢老宅是有着特殊的原因。
简·黛尔几次在大型的图书馆里介入装置艺术，把书籍转换成了黑色的雕塑。书虽然还是成行成列地排列在书架上，但是你无法阅读，书里原本可以告诉你的资讯都被隐藏起来，书本原有的内涵都被破坏了，这是为了让你再思考书的意义。其实现在一排书架上的书本资料，既可浓缩在一个微小的电脑晶片里，这也是对书本的挑战，是又一种对书本转换的理解
简·黛尔的艺术作品虽然受到了广泛欢迎，是因为她巧妙地运用空间和大块墙面的三维视觉，加之雕塑，摄影的综合效果，难以置信的是她数年内举办了上百次的国内和国际展览。她是个非常忙碌的艺术家，有众多得奖记录，还在世界各地的艺术院校推行驻院艺术家项目，如2007年在香港岭南大学，1995年在中央美术学院和Asialink/VACB，1996年在巴黎的Cite Internationale des Arts 和AGNSW，2005年FONAS，2000年获 NAS 旅游学者奖。1993年在意大利Verdaceio的工作室交流，和Monash University项目，等等。2005年澳大利亚联邦政府授予她奖项，嘉奖她在艺术和教育上的贡献。2006年，悉尼作家节中，她获邀为Sydney Theatre构思舞台设计。简·黛尔现职是悉尼国家艺术学院公共课程主任。在中国，北京红门画廊是她的代理。
上周去简·黛尔的工作室拍照，看到她又在“著新书”了，原来是准备下周去北京的展品。永无休止的遐想，马不停蹄地奔波，这就是我们忙碌的艺术家Jayne·Dyer。她的“书”，我永远读不完。
Jayne Dyer and Her “Books”
Elizabeth Bay is one of the most beautiful scenic spots in Sydney, Australia. Built on a hill against Sydney Harbour, the old grand mansion, Elizabeth Bay House is one of the most important colonial buildings in Australia. In 1835 it was surrounded by an extensive garden on hectares of land, like a pearl in a king clam’s shell. Today, the land has gone, but the House, although hemmed in by modern apartment buildings still remains imposing.
Jayne Dyer’s exhibition Spare Room opened at Elizabeth Bay House on a July evening with myriad twinkling lights and a bustling crowd.Her works were especially developed for this unique site, rather than for a commercial gallery or art museum.
The House was designed for Alexander Macleay, a British senior official dispatched to Australia, who was an avid collector of natural history specimens and had shipped more than four thousand reference books to Australia. These were housed in the library - the largest room in the House, and in fact the room was the largest library in Australia at that time. The collections of books and specimens were dispersed as the Macleay clan declined.
Intrigued by this history, Dyer created an installation titled The Library of Forgetting. She reintroduced thousands of books; rows of books were suspended in a library entrance, other books precariously piled onto an original specimen cabinet, formed a column almost architectural in appearance. Some were kept open, some were closed. Each book was painted black, all identifiable information concealed or blocked, reminding us of how restrictive the European system of knowledge was to map and interpret colonial Australia.Simultaneously Dyer’s installation offered a memorial to Macleay’s beloved thousands of lost and forgotten books.
Interested in the Macleay family’s vast moth and butterfly collection Dyer prepared 3,000 black paper-cut butterflies that she massed throughout the library, leading from the preparation room to the library’s huge window. Moths and butterflies clung to writing bureaus, reading lamps, chaise lounges. Dyer suggested the swarm of butterflies may have a circular motioncaught in time perhaps flying into or out from the room they had vanished from so many years ago.
To Dyer Elizabeth Bay House has witnessed great change and offers an insight into changing behaviours and attitudes brought about by European and more recent global settlement. Two centuries ago, the early colonists came to Australia with English culture and ideas. Over time Australia gradually formed its own diverse culture made up of disparate ethnic and social groups. The House’s use has reflected this change, from artists’ squats, and genteel reception rooms to its role as a public museum.
Dyer selected the gallery on the first floor for the work The Reading Room. Two doorways into the room were crammed with selected books published from 1835 to 2007. Books spilled onto the floor, suggesting a disused and slowly disintegrating storehouse of knowledge. Unlike the concealed books downstairs the books titles were exposed, reflecting the different uses of the house over time. A Chinese idiom occurred to me “Han Niu Chong Dong” that literally means one who has an abundant book collection sweat oxen when he moves and are piled to the rooftree of his house. Dyer was very interested when I told her this story.
Jayne Dyer is an Australian of Irish and Italian descent who has relocated to Beijing for 2008.Since 1994 she has had exhibitions and artist residencies in Beijing and Hong Kong. She said up to the 1960’s Australia referenced Europe to benchmark culture and social mores. She imagined the first colonists, standing on the Elizabeth Bay House verandah, gazing out over the bay to Europe. To Dyer, Australia’s vision has changed with the recognition of itself as part of the Asia Pacific. She suggested that standing on the verandah to survey the bay, she sees China.
Dyer’s installations have been shown in museums and universities in Australia and Asia. In a recent exhibition at the Lingnan University Library in Hong Kong her black books were interspersed through the library’s collection. Dyer also requested the library turn the spines of all books in the reference section making the books inaccessible and unreadable, reminding us that hard copy is fast disappearing as books are microfiched. This challenged our comprehension of the library as a repository of knowledge and our expectation to have access.
Jayne Dyer has participated in over one hundred of exhibitions and has received numerous awards, prizes and residencies that include Lingnan University residency, Hong Kong, 2007; Cite Internationale des Arts residency through FONAS, 2005, and the Art Gallery of NSW, 1999; Beijing Art Academy Studio through Asialink /VACB, 1995; Monash University funded Verdaccio Studio, Italy, 1993. In 2006 and 2007 Dyer was invited to design the stage installation for Sydney Writer’s Festival. She was awarded Commonwealth of Australia PSM for her contribution to art and education in 2005. Dyer is represented by Uber Gallery in Melbourne and by King Street Gallery on William in Sydney.
When I went to her studio to take pictures last week, she was writing “a new book” preparing for the coming exhibition next week in Beijing. Jayne Dyer is a busy artist with an endless dream to pursue her ideas. I will not ever finish reading her “books”.
这天晚上华灯初上，人群熙攘，正是著名艺术家简·黛尔(Jayne·Dyer)展览的开幕式。展览没有办在通常的画廊或美术馆，而选择了这幢老宅是有着特殊的原因。
简·黛尔几次在大型的图书馆里介入装置艺术，把书籍转换成了黑色的雕塑。书虽然还是成行成列地排列在书架上，但是你无法阅读，书里原本可以告诉你的资讯都被隐藏起来，书本原有的内涵都被破坏了，这是为了让你再思考书的意义。其实现在一排书架上的书本资料，既可浓缩在一个微小的电脑晶片里，这也是对书本的挑战，是又一种对书本转换的理解
简·黛尔的艺术作品虽然受到了广泛欢迎，是因为她巧妙地运用空间和大块墙面的三维视觉，加之雕塑，摄影的综合效果，难以置信的是她数年内举办了上百次的国内和国际展览。她是个非常忙碌的艺术家，有众多得奖记录，还在世界各地的艺术院校推行驻院艺术家项目，如2007年在香港岭南大学，1995年在中央美术学院和Asialink/VACB，1996年在巴黎的Cite Internationale des Arts 和AGNSW，2005年FONAS，2000年获 NAS 旅游学者奖。1993年在意大利Verdaceio的工作室交流，和Monash University项目，等等。2005年澳大利亚联邦政府授予她奖项，嘉奖她在艺术和教育上的贡献。2006年，悉尼作家节中，她获邀为Sydney Theatre构思舞台设计。简·黛尔现职是悉尼国家艺术学院公共课程主任。在中国，北京红门画廊是她的代理。
上周去简·黛尔的工作室拍照，看到她又在“著新书”了，原来是准备下周去北京的展品。永无休止的遐想，马不停蹄地奔波，这就是我们忙碌的艺术家Jayne·Dyer。她的“书”，我永远读不完。
Jayne Dyer and Her “Books”
Elizabeth Bay is one of the most beautiful scenic spots in Sydney, Australia. Built on a hill against Sydney Harbour, the old grand mansion, Elizabeth Bay House is one of the most important colonial buildings in Australia. In 1835 it was surrounded by an extensive garden on hectares of land, like a pearl in a king clam’s shell. Today, the land has gone, but the House, although hemmed in by modern apartment buildings still remains imposing.
Jayne Dyer’s exhibition Spare Room opened at Elizabeth Bay House on a July evening with myriad twinkling lights and a bustling crowd.Her works were especially developed for this unique site, rather than for a commercial gallery or art museum.
The House was designed for Alexander Macleay, a British senior official dispatched to Australia, who was an avid collector of natural history specimens and had shipped more than four thousand reference books to Australia. These were housed in the library - the largest room in the House, and in fact the room was the largest library in Australia at that time. The collections of books and specimens were dispersed as the Macleay clan declined.
Intrigued by this history, Dyer created an installation titled The Library of Forgetting. She reintroduced thousands of books; rows of books were suspended in a library entrance, other books precariously piled onto an original specimen cabinet, formed a column almost architectural in appearance. Some were kept open, some were closed. Each book was painted black, all identifiable information concealed or blocked, reminding us of how restrictive the European system of knowledge was to map and interpret colonial Australia.Simultaneously Dyer’s installation offered a memorial to Macleay’s beloved thousands of lost and forgotten books.
Interested in the Macleay family’s vast moth and butterfly collection Dyer prepared 3,000 black paper-cut butterflies that she massed throughout the library, leading from the preparation room to the library’s huge window. Moths and butterflies clung to writing bureaus, reading lamps, chaise lounges. Dyer suggested the swarm of butterflies may have a circular motioncaught in time perhaps flying into or out from the room they had vanished from so many years ago.
To Dyer Elizabeth Bay House has witnessed great change and offers an insight into changing behaviours and attitudes brought about by European and more recent global settlement. Two centuries ago, the early colonists came to Australia with English culture and ideas. Over time Australia gradually formed its own diverse culture made up of disparate ethnic and social groups. The House’s use has reflected this change, from artists’ squats, and genteel reception rooms to its role as a public museum.
Dyer selected the gallery on the first floor for the work The Reading Room. Two doorways into the room were crammed with selected books published from 1835 to 2007. Books spilled onto the floor, suggesting a disused and slowly disintegrating storehouse of knowledge. Unlike the concealed books downstairs the books titles were exposed, reflecting the different uses of the house over time. A Chinese idiom occurred to me “Han Niu Chong Dong” that literally means one who has an abundant book collection sweat oxen when he moves and are piled to the rooftree of his house. Dyer was very interested when I told her this story.
Jayne Dyer is an Australian of Irish and Italian descent who has relocated to Beijing for 2008.Since 1994 she has had exhibitions and artist residencies in Beijing and Hong Kong. She said up to the 1960’s Australia referenced Europe to benchmark culture and social mores. She imagined the first colonists, standing on the Elizabeth Bay House verandah, gazing out over the bay to Europe. To Dyer, Australia’s vision has changed with the recognition of itself as part of the Asia Pacific. She suggested that standing on the verandah to survey the bay, she sees China.
Dyer’s installations have been shown in museums and universities in Australia and Asia. In a recent exhibition at the Lingnan University Library in Hong Kong her black books were interspersed through the library’s collection. Dyer also requested the library turn the spines of all books in the reference section making the books inaccessible and unreadable, reminding us that hard copy is fast disappearing as books are microfiched. This challenged our comprehension of the library as a repository of knowledge and our expectation to have access.
Jayne Dyer has participated in over one hundred of exhibitions and has received numerous awards, prizes and residencies that include Lingnan University residency, Hong Kong, 2007; Cite Internationale des Arts residency through FONAS, 2005, and the Art Gallery of NSW, 1999; Beijing Art Academy Studio through Asialink /VACB, 1995; Monash University funded Verdaccio Studio, Italy, 1993. In 2006 and 2007 Dyer was invited to design the stage installation for Sydney Writer’s Festival. She was awarded Commonwealth of Australia PSM for her contribution to art and education in 2005. Dyer is represented by Uber Gallery in Melbourne and by King Street Gallery on William in Sydney.
When I went to her studio to take pictures last week, she was writing “a new book” preparing for the coming exhibition next week in Beijing. Jayne Dyer is a busy artist with an endless dream to pursue her ideas. I will not ever finish reading her “books”.