查看原文
其他

全球首发VR虚拟现实作品 | 朱利安·奥培展览现场

HEM 和美术馆 2022-10-17

点击图片,预约展览门票



现实与虚拟现实


文 / 朱利安·奥培


现实与虚拟现实、墙上悬挂的图片与投射于脑海中的影像,艺术家创作于这些世界之间,至少我是如此。



VR体验空间,朱利安·奥培「VR.OP/HEM@shenzhen 」展览现场



有一天我走上阁楼,一群蝙蝠立刻将我包围。它们没有视力,在黑暗中依靠声波的反射在脑海里建立阁楼的空间模型。它们并不是通过思考或是声音信息来理解空间,而是和我们一样通过观看。蝙蝠的脑海里有一副清晰的图景,周遭的空间包括它们试图捕食的昆虫全都显现其中,它们便在其中准确并快速地飞行。这反映了蝙蝠独特的思维方式,也许与我们的方式截然不同。又或许,连它们看见的色彩也会呈现不同的质地。这是现实的真正面目吗?或者,这仅仅是回声在它们脑海里营造的虚拟世界?


《乌鸦群》,喷墨面、钢化玻璃、铝材,112.8 × 200 cm,2017,© Julian Opie,由里森画廊提供


同样,我们认为自己见到了真实的世界,而实际上只是我们的大脑将反射到我们视网膜上、并且上下颠倒的图像进行转译,依凭大量的交互参照、过滤与记忆,建立起的心理模型。那些天生失明却重获视力的人需要好几个月的时间理解变化的光线,以建立我们所谓的现实,而我们在婴儿时期就学会了这种把戏。



《人物 4 舞蹈 2),乙烯基墙贴,305 × 2926.5 cm,2022,展览现场



有时候我会观察自然与人造景观,相信自己会找到使用它们的方式。我寻找现成的视觉语言并将其用于绘画,它们就像我们所共享的口头语言一样,让我可以表达,可以被理解。我画我见过的东西,而它们则建立起不同的现实,从远古时代采集狩猎的人们将动物画在岩壁上开始,艺术家就这样行事。多年来我在美术馆的房间里展出绘画及雕塑,就是想要分享我的思维模式,营造一个在视觉与触觉上都与现实同构的镜像世界。



左起:《老街12月12日》,颜料和金属,230 × 230 × 5 cm,2021;《科诺克 9》 ,色粉涂层铝材,187.2 × 209 × 1.8 cm,2021,展览现场


左起:《老街8月12日》,铝材、尼龙和灯,225 × 302 × 9.5 cm,2020;《波波头》,汽车涂漆和铝材,181.3 × 65.8 × 3 cm,2020,展览现场


《老街行人》,白色亚克力板、透镜板,一组六件,120 × 72 × 3 cm × 6,2022,展览现场



在准备展览期间,我开始使用VR眼镜,将我的作品以数字化的形式载入美术馆及画廊的空间模型中。我慢慢意识到,自己很享受身处这些空间之中,并会时不时想方设法地再体验一次。理由很简单,就是为了取乐。我开始设想,如果只在这些虚拟空间做展览,那么便不会受到现实世界的诸多限制:做雕塑的时候需要考虑重量或者易破损的程度;会动的作品则会需要电子设备;照明也有限制,需要服从重力的安排。有了VR眼镜,这些壁垒就都不复存在了。



《OP.VR/01. 》(静帧),虚拟现实装置,尺寸可变,2022,© Julian Opie,由里森画廊提供

我最初的尝试很花哨,但其最终却像魔术或烟花一样无聊俗套。最佳的方式仍是紧贴我们熟悉的现实,建造一个普通的展厅空间,在展台上陈列雕塑、在墙上挂画。如此,观众会觉得自己在熟悉的世界中,也愿意慢慢步入其中。

3D电脑游戏已经存在了很长时间,我受到了它很深的影响,但是VR眼镜似乎可以提供更多的可能性。它不仅是三维的互动影像,还可以通过各种感官——听觉、触觉、视觉、以及平衡感——邀请观众进入一个完全不同的新世界。

朱利安·奥培「VR.OP/HEM@shenzhen 」展览现场



想象与梦幻的世界是孤独的,
我们只能只身体验。

目前,我的VR展览却正要如此进行。这是我的首次VR展览,我感觉自己打开了一扇通往多重可能性的大门。展览中呈现的大部分创作是我之前展出过的作品的数字化版本。但是,它们呈现出一种可能性:即我的其他作品或许能将我带往全新的领域——而在我一直所处的真实世界之中,这种情况无从发生。


左起:《日落》,喷墨面、钢化玻璃、铝材,112.8 × 200 cm,2017;《道路 I》,喷墨面板、钢化玻璃、铝材,112.8 × 200 cm,2017,展览现场






朱利安·奥培
VR.OP/HEM@shenzhen
2022.10.01-2023.01.31
深圳万象天地L4层艺术计划·场
开放时间:11:00-22:00

- 以万象天地营业时间为准 -




 主 办 



 特别鸣谢 




 和美术馆团队 

展览统筹
王乾宇  何立灵

执行团队

岑绮漫  陈华宁  陈银曼
佃佳桂  傅 韵  高顺仪  何澄彬
何颖潼  黄鹤诚  李秀芳  梁琼梅
廖浩旭  林欣燕  林秀萍  刘相
潘 悦  潘微微  谭桂兴  王康
王思宇  周伟棋  张  弘
张凯怡  郑少仪  锦涛


 现场运维 

DOUBLE CHECK


展览限定衍生品

可于和记士多艺术快闪店内购买 :) 


 关于艺术家 

朱利安·奥培



朱利安·奥培(Julian Opie)1958年出生于伦敦,1982年毕业于伦敦金史密斯艺术学院,目前于伦敦生活和工作。他的个展包括匹兹汉尔庄园,伦敦 (2021);拉瑙文化中心,瓦伦西亚,西班牙 (2021);贝拉多博物馆,里斯本,葡萄牙 (2020);东京歌剧城美术馆,日本 (2019);莱姆布鲁克美术馆,杜伊斯堡,德国 (2019);维多利亚国家美术馆,墨尔本,澳大利亚 (2018);F1963,釜山,韩国 (2018);国家肖像馆,伦敦,英国 (2017);水原伊帕克美术馆,韩国 (2017);复星艺术中心,上海,中国 (2017);赫尔辛基艺术馆,赫尔辛基,芬兰 (2015);克拉科夫当代美术馆,波兰 (2014);国家肖像馆,伦敦,英国 (2011);瓦伦西亚现代美术馆,西班牙 (2010);工艺美术博物馆,维也纳 (2008);马拉加当代艺术中心,西班牙 (2006);新博物馆,纽伦堡,德国 (2003);Ikon 画廊,伯明翰,英国 (2001);汉诺威艺术协会,德国 (1994);海沃德美术馆,伦敦,英国 (1993);和当代艺术学院,伦敦 (1985)。奥培参加的大型群展包括维多利亚国家美术馆三年展,墨尔本,澳大利亚 (2020);第57届威尼斯双年展,意大利 (2017);维多利亚与阿尔伯特博物馆,伦敦,英国 (2016);巴比肯艺术中心,伦敦,英国 (2014);泰特美术馆,伦敦,英国 (2013);上海双年展,中国 (2006);泰特现代,伦敦,英国 (2000);第11届悉尼双年展,澳大利亚 (1998);第八届卡塞尔文献展,德国 (1987);和第十二届巴黎双年展,法国 (1985) 等。奥培的公共项目在世界各地展出,包括威尼斯 (2022);香港 (2020);上海 (2019);台北 (2016);香港 (2016);Arendt & Medernach 律师事务所,卢森堡 (2016);希斯罗机场1号航站楼,伦敦 (1998);伦敦Wormwood Scrubs监狱 (1994) 等。他的公共作品也曾在伦敦圣玛丽医院 Lindo Wing (2012) 和 Barts & the London医院 (2003) 等医院展出。此外,他2000年为Blur乐队设计的专辑封面荣获2001年CADS音乐周最佳插图奖。





Reality and Virtual Reality. A picture on a wall and a model in your mind. Artists work between these worlds or at least, I do.

The other day I went up to my attic and was immediately surrounded by swooping bats. They can’t see with their eyes in the dark but they use rebounding sound waves to build a model of the attic in their tiny brains. They don't think about this or interpret the returning aural information, like us they just see. In their minds is a clear picture of the surrounding space full of the insects they want to eat. They see reality and fly within it with great precision and speed. Perhaps, unlike us, their model also shows what is behind their heads. Perhaps they see in colour where the colour denotes different textures. Is this what reality really looks like? Or is this a virtual world constructed in their brains from echo information? In a similar way, we think we see the real world while all the time our brains are busy turning a projected light image that falls on our retinas upside down and interpreting it to build a mental model. This requires a lot of cross referencing, filtering, and memory use. People blind from birth who regain their sight take months to learn to interpret the dancing patterns of light and create what we call reality. The rest of us learnt this trick as babies.  

Sometimes I notice particular objects and views, natural and human made, that I feel I could find a way to use. I look for existing visual languages with which to draw and, like the verbal languages we share, these allow me to speak and be understood. I draw what I have seen and these drawings then create an alternative reality, a depicted world that your brain can read using the same systems it has learnt to navigate the real world. This is what artists have been doing since the earliest times of hunter gatherers who drew animals on rock walls. I have orchestrated my paintings and sculptures in museum rooms for decades, trying to share my mental models and create a mirrored world that looks and feels as alive as reality. 

To help me make plans for upcoming shows, I started to use VR goggles, placing digital versions of my art works into models of the museums and galleries where I was scheduled to exhibit. My rather plodding brain slowly realised that I liked being in these spaces and was sometimes making excuses to go back in just for fun. I began to imagine making exhibitions that only existed in these invented spaces and could therefore be built without compromise to the laws of our usual world. When making sculpture I have to find a way to balance the work, to make it not too heavy or delicate. Works that move require electronics and tricks with lights, and I need to obey the laws of gravity. With the goggles, none of these laws applied.

My first attempts were fanciful and ultimately boring and predictable, like magic tricks or fireworks. What worked best was to keep close to the reality we know, to build normal gallery spaces and place sculptures on plinths and paintings on the wall. In this way the viewer feels they are in a familiar world and can take a small but convincing step into the virtual.

3D computer games have been around for a long time now and have influenced me greatly, but this new goggle technology seemed to offer much more. Not just a three-dimensional interactive picture but an actual alternate world that your body, your very self, could enter and experience through various sensory inputs  sound, touch, and balance, as well as vision.

The world of imagination and dreams is a lonely world, seen and experienced alone. For now, my VR shows are experienced that way. This is my first VR exhibition and I feel that I am just opening a door to many other possibilities. The works I am showing are mostly reinterpretations of works I have made in normal museums and galleries, but they begin to suggest other works that could perhaps take me to new places, that could not have been invented in the world that I have always lived in.




您可能也对以下帖子感兴趣

文章有问题?点此查看未经处理的缓存