玻璃迷宮，密蘇里，美國(guó)

設(shè)計(jì)：羅伯特·莫里斯

玻璃迷宮，密蘇里，美國(guó)

設(shè)計(jì)：羅伯特·莫里斯

玻璃迷宮是一個(gè)由玻璃墻組成的三角形雕塑。該雕塑的設(shè)計(jì)者，國(guó)際知名的藝術(shù)家羅伯特·莫里斯從小在密蘇里州的堪薩斯城長(zhǎng)大，并將自己的藝術(shù)啟蒙歸功于一次童年時(shí)期參觀納爾遜-艾金斯藝術(shù)博物館的經(jīng)歷。

玻璃迷宮高度約2.1m（7ft），三邊長(zhǎng)約16.8m（55ft），重量超過(guò)400t。雖然看起來(lái)形式簡(jiǎn)單，但這座雕塑的建造過(guò)程動(dòng)用了大量人力，并對(duì)做工有著非常精細(xì)的要求。莫里斯的工程師指導(dǎo)了方案的建造，除此之外還有80名工人參與到建筑實(shí)體的搭建過(guò)程中。為了紀(jì)念唐納德·J·霍爾雕塑園建立25周年，博物館委托藝術(shù)家設(shè)計(jì)建造了這座玻璃迷宮。

莫里斯是1960年代以來(lái)極簡(jiǎn)藝術(shù)、概念藝術(shù)、表演藝術(shù)、大地藝術(shù)、過(guò)程藝術(shù)和裝置藝術(shù)等多個(gè)藝術(shù)運(yùn)動(dòng)之中最重要的人物之一。從風(fēng)格上講，玻璃迷宮具有極簡(jiǎn)主義雕塑和大地藝術(shù)一般具備的抽象、簡(jiǎn)化的形式。雖然在他的職業(yè)生涯中，莫里斯利用多種材料創(chuàng)作過(guò)多個(gè)臨時(shí)、亦或永久的迷宮式藝術(shù)作品，但玻璃迷宮是他在美國(guó)本土完成的首個(gè)永久性迷宮展品。

玻璃迷宮是雕塑園中的一個(gè)標(biāo)志性存在。當(dāng)漫步在透明的玻璃墻之間時(shí)，參觀者們能夠獲得高度互動(dòng)化的感官體驗(yàn)。大部分人會(huì)在進(jìn)入迷宮6分鐘之后抵達(dá)雕塑的中心，之后則原路返回出口。

迷宮起源于希臘神話中關(guān)于提修斯和彌諾陶洛斯的傳說(shuō)，之后在中世紀(jì)教堂中殿交匯處的地板紋飾中出現(xiàn)，其中最著名的，就屬沙特爾大教堂地板上的迷宮紋飾。超現(xiàn)實(shí)主義者們?cè)?jīng)進(jìn)一步挖掘迷宮的意義，使其與弗洛伊德和榮格心理學(xué)產(chǎn)生聯(lián)系，將它類(lèi)比為對(duì)于內(nèi)在自我的深刻追尋和發(fā)掘。這一動(dòng)機(jī)在當(dāng)代藝術(shù)中又得到了進(jìn)一步延伸，例如安娜·門(mén)迭塔的維納斯之迷宮（1980），以及山本基的迷宮（2012）。千年以來(lái)，迷宮一直是人類(lèi)靈感的不竭源泉。

莫里斯在創(chuàng)作中對(duì)于迷宮概念的癡迷延續(xù)了40余年。他曾經(jīng)說(shuō)過(guò)：“迷宮的形式大概是一種探尋自我的轉(zhuǎn)喻，因?yàn)樗笕藗兟纹渲校⒎艞墝?duì)自己所處位置的知覺(jué)?！?/p>

然而，正如他所讀的梅洛-龐蒂以及他的知覺(jué)現(xiàn)象學(xué)所闡述的，莫里斯認(rèn)為迷宮并非主要昭示著那些先入為主的神學(xué)的、精神層面或者心理學(xué)層面的意義，而更多地體現(xiàn)了一種更加當(dāng)代的、對(duì)于感知的理解。梅洛-龐蒂相信我們的身體–尤其是知覺(jué)–構(gòu)成了我們?cè)谑篱g存在的基礎(chǔ)。身體，而非頭腦，才是知識(shí)和存在體驗(yàn)的發(fā)生地，并且它與世界親密交融。感知中的身體，以及它與藝術(shù)的關(guān)系，成為了莫里斯終身探索主題——玻璃迷宮顯然繼承了這一點(diǎn)。進(jìn)入這座具有潛在迷惑性的構(gòu)筑物中后，參觀者/參與者必須強(qiáng)化自己的視覺(jué)感知能力，從而辨識(shí)出眼前光潔的玻璃墻，并很可能有機(jī)會(huì)利用觸覺(jué)和聽(tīng)覺(jué)來(lái)輔助自己順利穿過(guò)整座迷宮。穿越玻璃迷宮的過(guò)程是一次真正意義上的浸入式身體體驗(yàn)。（張?jiān)Ｏ?譯）

1 鳥(niǎo)瞰/Aerial view

2 全景/Overall view

3.4 人們?cè)诿詫m中行進(jìn)/Visitors are walking in the maze

評(píng)論

賈蓮娜：能看透的迷宮恐怕是對(duì)現(xiàn)代人生存狀態(tài)的一種隱喻?？吹靡?jiàn)，看得多，反而恐怕更難找到方向。作為一個(gè)非親歷者，我只能去想象穿行迷宮的過(guò)程會(huì)有何感受，又強(qiáng)化了我們哪一方面的存在經(jīng)驗(yàn)?，F(xiàn)實(shí)的虛妄？視覺(jué)的不可靠？看人們紛紛伸出了雙手，似乎觸覺(jué)被激發(fā)了。玻璃迷宮讓我們看見(jiàn)與他人同在，看到行走在迷宮中的他人，自我的困惑、彷徨顯形了，這一點(diǎn)挺有意思。這是一個(gè)概念化的、可被體驗(yàn)的裝置，它的雕塑感大于它的場(chǎng)所感。它像一個(gè)舞臺(tái)，行走在迷宮中的人們默契地表演著一出劇。

莊子玉：如果說(shuō)傳統(tǒng)迷宮（或者說(shuō)米諾陶洛斯式的迷宮）折射了人類(lèi)對(duì)于物質(zhì)世界雙重性的迷思（復(fù)雜與簡(jiǎn)單，神秘與可知，感性與理性），那么莫里斯的鏡面迷宮則進(jìn)一步將問(wèn)題推向了物質(zhì)世界本體論的邊緣（觀測(cè)者的存在與感知對(duì)于客觀世界的影響）。故而，前者是心之于物，而后者是物附于心。玻璃迷宮三角形為基本形的構(gòu)成方式，和以此在多個(gè)選擇性節(jié)點(diǎn)帶來(lái)歧義空間，不斷挑戰(zhàn)訪者對(duì)于“所見(jiàn)即所以”的常規(guī)認(rèn)知，鏡面的透射，以及成角度折射及反射在其后的層級(jí)中創(chuàng)造了無(wú)數(shù)空間的可能性和選項(xiàng)。于是在這個(gè)邊長(zhǎng)18m的小空間中，或許某一瞬你就是《盜夢(mèng)空間》和《西部世界》中的游人，而另一瞬你便成為莊子夢(mèng)中的蝴蝶。

Comments

JIA Lianna: A perceptive labyrinth is probably a metaphor for the survival state of modern people. With more things to be visible, we might have more difficulties orienting ourselves. Not able to witness it, I can only imagine what people will feel when passing through the labyrinth, and what experience of existence it will strengthen of us. Virtual reality? Or unreliable vision? People stretch out their hands, which seems that their senses of touch are stimulated. The Glass Labyrinth makes us notify others walking along with us in the labyrinth, which also reminds us of our self-confusion. This is interesting. It is a conceptualized device that provides good experience, more like a sculpture than a site. Like an arena, it exhibits the performance that people walking in the maze play in harmony.

ZHUANG Ziyu: If the traditional labyrinth(as the Minotaur labyrinth) reflects the thinking of the dualism of this physical (complicated/ simple, mystery/ comprehensive, sensible/ rational) world, the mirror labyrinth by Robert Morris is put the question a bit forward to the edge of the ontology of the physical world (the observer's body and perception formed the basis for our being). Therefore we consider the former as the object reflecting the heart, and the latter is the object created by heart. The glass labyrinth formed by a series of triangles as the basic shape, which creates many uncertain spaces at the nodes, which keep challenge the visitor's common sense–what you have seen is what it is. The mirror's projection, refraction and reflection in multiple diagonals create numerous space possibilities and options in the subsequent hierarchy. In this case, within this measuring 18×18×18m small space, sometimes you might be the visitors at Inception or Westworld, and sometimes you might be the butterfly in the dream of Chuang Tzu.

Glass Labyrinth is a triangular, glass-walled sculpture designed by acclaimed international artist Robert Morris. He was born and grew up in Kansas City, Missouri and acknowledges childhood visits to The Nelson-Atkins Museum of Art as formative experience for his art.

Glass Labyrinth, seven-foot-tall and measuring 55-foot by 55-foot by 55-foot, weighs more than 400 tons. While the sculpture is deceptively simple, its creation required a large team and much ingenuity to see its realization. Morris's engineer participated and a crew of more than 80 worked on the physical construction. Glass Labyrinth was commissioned by the museum in celebration of the 25th Anniversary of the Donald J. Hall Sculpture Park.

Morris is one of the most important artists associated with the Minimal, Conceptual, Performance, Land, Process and Installation art movements spanning from the 1960s to today.

Glass Labyrinth stylistically relates to the abstract, simplified forms of Minimalist sculpture and Land art. While Morris has created numerous labyrinths of various materials – temporary and permanent – over the course of his career, Glass Labyrinth is the first permanent labyrinth installed in the United States.

Glass Labyrinth is an iconic presence in the Sculpture Park. It provides a highly interactive sensory experience for visitors as they walk between the transparent glass walls. Most who enter take approximately six minutes to reach the center of the sculpture before retracing their steps along the same path to exit.

The labyrinth, with origins in ancient Greek mythology associated with Theseus and the Minotaur, later became the centerpiece in nave crossings of medieval cathedrals, the most notable of which is Chartres. The Surrealists also engaged the labyrinth, making connections between the form and Freudian and Jungian psychology, embracing it as a symbol of the quest to discover the depths of the inner self. The motif continues to be explored in contemporary art as seen in Ana Mendieta's Labyrinth of Venus, ca. 1980 and Motoi Yamamoto's Labyrinth, 2012. The labyrinth has proved to be an endless source of inspiration for millennia.

Morris's fascination with labyrinths in his own work spans four decades. He has stated, "The labyrinth form is perhaps a metonym of the search for the self, for it demands a continuous wandering, a relinquishing of the knowledge of where one is."

Yet, for Morris, the labyrinth represents not as much an interest in mythology, spirituality or psychological preoccupations as a more contemporary understanding of perception, through his reading of Maurice Merleau-Ponty and his Phenomenology of Perception. Merleau-Ponty believed that our body –and especially perception – formed the basis for our being in the world. The body, rather than the mind, was the primary site of knowledge and existence, and the body and the world were intimately intertwined.The sensing body, and its relationship to art, became a life-long preoccupation for Morris and Glass Labyrinth embodies this interest. The visitor/participant, who enters and is enclosed within the potentially disorienting structure, must intensify their visual perception to perceive the extremely clear glass walls, and potentially use touch and hearing to navigate the sculpture. Moving through Glass Labyrinth becomes a truly immersive physical experience.

項(xiàng)目信息/Credits and Data

贊助/Purchase: 由霍爾家族基金會(huì)慷慨捐贈(zèng)/Acquired through the generosity of the Hall Family Foundation

材料/Materials: 玻璃，黃銅和石材/Glass, bronze and stone攝影/Photos: 克里斯·斯瑪特，尼爾森-阿金斯藝術(shù)博物館/ Chris Smart, The Nelson-Atkins Museum of Art

Glass Labyrinth, Missouri, USA, 2013

Designer: Robert Morris

5 人們?cè)诿詫m中獲得感官體驗(yàn)/Visitors get interactive sensory experience in the maze