Villiam Miklos Andersen
德国
2022
“为性别、身份和社会角色的更广泛对话作出贡献。”
Q：何时将亚克力材料纳入你的创作系统的？你认为亚克力材料在当代艺术中的审美意义和表现价值是怎样的？
A：大约五年前，我开始对使用亚克力材料创作非常感兴趣，从那时起，我就将它纳入我的创作过程中。我坚持使用这种材料有几个原因：首先，它为我提供了很多基于矢量制作技术的处理机会。此外，亚克力是一种现代材料，可以在公共空间中找到它，这增加了我的作品的相关性。目前，我正在尝试一种现代的镶嵌技术：使用亚克力与各种类型的木材组合进行创作。
Q: When did you become interested in working with acrylic and what led you to incorporate it into your creative process?
A: I became interested in working with acrylic material approximately five years ago, and since then, I have incorporated it into my creative process. There are several reasons why I continually use this material. Firstly, it provides me with numerous opportunities for processing through vector-based production techniques. Additionally, acrylic glass is a contemporary material that can be found on many surfaces in the public space, which adds relevance to my work. At present, I am experimenting with a modern tarsia technique, where I create mosaics using acrylic glass in combination with various types of wood.
Consignment № 2 (a 1838-2021-snapshot: FOMO intensifies), 120×210×80cm, Print and crayon on canvas, acrylic glass, mirror foil, plywood (poplar), oak wood, LED tube, ceramics, battens (spruce), EUR pallet, plastic foil, brackets, screws, acrylic nuts and bolts, 2021,©Villiam Miklos Andersen
Q：亚克力雕塑和摄影的呈现方式会相对单一，什么原因选择这两种创作方式的结合？
A：亚克力和摄影的展示方法通常都是单一的。不过，在我的作品中，我故意将这两种艺术媒介结合起来。在创作雕塑时，我会将更加新颖的激光切割和数控雕刻等现代方法与传统的凹版印刷和绘画等技术相结合。这种技术的结合使我感知到现代标准化生产形式和工作生活中个人之间的触手可及的联系。
Q: Presentation methods of acrylic sculpture and photography tend to be relatively singular. What reasons influenced your decision to combine these two artistic mediums in your work?
A: The presentation methods of acrylic sculpture and photography often follow a singular approach. However, in my work, I have made the deliberate decision to combine these two artistic mediums. When creating my sculptures, I incorporate newer computerized methods like laser cutting and CNC alongside more traditional techniques such as intaglio printing methods and drawing. This combination of techniques reflects my fascination with the duality I perceive between contemporary standardized forms of production and the personal, tactile nature of surfaces in modern working life.
November 十一月, SIMULACRA拟像, 北京，2023
Q：分享一下双北极星系列的摄影部分采用的新技术的独特之处，这种技术对于摄影实践和创作过程有何影响和挑战？
A：双北极星（Double North Star）系列作品采用了独特的印刷技术，这为此作品增加了独特的品质。在这个系列中，我采用了一种叫做凹版半色调数字印刷的技术。这个过程是将感光箔涂在铜板上，然后用手工涂墨。是数字生产和传统方式的有趣结合，每个印刷品都是独一无二的，需要手动重新涂墨。
这个系列中，我展示了我在不同工作场合中拍摄的个人照片。重点捕捉工作环境中亲密关系和人际关系的时刻，而不仅仅着眼于生产方式本身。我很欣赏这种图形化的制作模式，它重新引入了一种质感，让人联想到数字照片拍摄的那一刻。
Q: Could you share the uniqueness of the new print technique used in the series of works Double North Star? How does this technology impact and pass views of your photography practice and creative process?
A: The series of works titled “Double North Star” incorporates a unique print technique, which adds a distinctive quality to the graphic paper works. In this series, I utilize a print technique known as Intaglio type digital half tone print. This process involves applying photosensitive foil to a copper plate, which is then manually inked by hand. It is an intriguing blend of digital and analogue production, where each print is one-of-a-kind, requiring the plates to be re-inked manually for every print.
For this particular series, I feature personal photos depicting various working situations I have experienced. The emphasis lies on capturing intimate and relational moments within the context of the work domain, rather than solely focusing on the mode of production. I appreciate how the graphic mode of production reintroduces a textured quality to the presentation, reminiscent of the moment the digital photos were taken.
Double North Star (back view) 60×80cm, Intaglio type digital halftone prints, acrylic glass, museum glass,acrylic nuts and bolts, 2023, ©Villiam Miklos Andersen
Q：如何平衡观念与审美在作品中的表达？是否有意探索传统美学标准和艺术界的观念框架？
A：在我的艺术作品中，思想和美学之间的平衡与作品的物质性和所探讨的主题有较深的联系。作为一个雕塑家，我善于在历史和重大主题中找到艺术创作的价值。
在我的创作中，我将物品看作是集体物质性的储存方式。通过装置，我强调这些物体留下的痕迹，并强调它们与历史和政治选择的联系。我的作品通常由层层叠加的构图、拼贴或较多的装置组成。通过纳入可识别的日常物品，我不仅挑战了艺术品本身的客体化，而且强调了它固有的集体性。
在主题层面上，我的艺术实践是在个人日常生活领域和复杂的物流结构中发展起来的。作品中的子元素就像雕塑游戏中的零件一样被添加和制作，通过物体、空间背景、复杂的物流和个人欲望之间的关系呈现。
Q: How do you balance the expression of ideas and aesthetics in your artwork? Are you intentionally exploring traditional aesthetic standards and having the ambition to challenge established concepts?
A: The balance between expressing ideas and aesthetics in my artwork is deeply interconnected with the materiality of the works and the themes they explore. As a sculptor, I find great value in the historical and thematic significance of the materials I utilize in my artistic creations.
In my artistic practice, I approach objects as repositories of collective materiality. Through installations, I highlight the traces left by these objects and emphasize their connection to historical and political choices. My works often consist of layered compositions, collages, or installations rich in objects. By incorporating recognizable everyday objects, I not only challenge the objectification of the art object itself, but also emphasize its inherent collectivity.
On a thematic level, my artistic practice evolves from the encounter between structural and logistical complexities and the realm of the personal and everyday. The sub-elements within my works are added and crafted like pieces in a sculptural game, emerging through the relationships between objects, spatial context, logistical complexities, and personal desires.
Consignment № 13 (Earthly Delights), 120×185×80cm, Acrylic glass, intaglio type digital halftone print, oak wood, plywood (poplar), battens (spruce), acrylic nuts and bolts, EUR pallet, brackets, screws, 2021, ©Villiam Miklos Andersen
Q：简单介绍下“The Pawn Shop”这个项目，在卡塞尔文献展上是一个怎样的呈现，与这次展览的作品是否有一定的相关性？
A：“The Pawn Shop”是一项探索个人物品、价值体系和伪商业模式的艺术研究工作。在卡塞尔第十五届文献展上，它采用了一个真实当铺的形式。我与建筑师Lauge Floris和艺术家M.B. Pedersen合作创作了这个装置，以三位艺术家装扮成当工人，在开放时间内经营当铺为特色。
在100天的展览过程中，“The Pawn Shop”演变成一个与当地社区合作和接触的平台。该装置促进了讨论、表演、音乐会和其他互动活动，并与卡塞尔及其周边地区的30多个地方的倡议者合作。
谈到目前在SIMULACRA的展览，“The Pawn Shop”和展出的艺术作品之间有一些联系。例如，“The Pawn Shop”项目深入研究了个人物品和价值体系的主题，这与在SIMULACRA展出的艺术作品产生了共鸣。在SIMULACRA展出的艺术作品中，有 "公共建筑 "系列中的19世纪公共卫生间的亚克力雕塑，“双北极星”系列中被转化为凹版数字印刷的个人照片，以及描述19世纪角落防尿器复制品的雕塑。这些作品和其他作品一起，探索历史框架、个人叙事和日常物品的重新定义的语境。
虽然在SIMULACRA展出的艺术作品可能没有直接提到“The Pawn Shop”项目，但这两个展览有共同的主题和创作方法。两者都强调了对物品、价值体系和历史背景的探索，为观众提供了关于物质性和社会构造的发人深省的观点。
November 十一月, SIMULACRA拟像, 北京，2023
Q: Could you provide a brief introduction to 'The Pawn Shop' project and its presentation at the Documenta Fifteen exhibition in Kassel? Does it relate to the artworks showcased in the current exhibition at Simulacra?
A: The Pawn Shop project was conceived as an artistic research endeavor exploring personal objects, systems of value, and pseudo-business models. Presented at the Documenta Fifteen exhibition in Kassel, it took the form of an actual pawn shop. Collaboratively created with architect Lauge Floris and artist M.B. Pedersen, the installation featured the three artists dressed as pawnshop workers, operating the shop during its opening hours.
Over the course of the 100-day exhibition, 'The Pawn Shop' evolved into a platform for collaboration and engagement with the local community. The installation facilitated discussions, performances, concerts, and other interactive events, partnering with over 30 local initiatives from Kassel and its surroundings.
Moving to the current exhibition at SIMULACRA, there are connections that can be drawn between 'The Pawn Shop' and the showcased artworks. For instance, 'The Pawn Shop' project delves into themes of personal objects and systems of value, which resonate with the artworks presented at SIMULACRA. Among the artworks featured at Simulacra, there are acrylic glass sculptures of 19th-century public urinals in the 'Public Establishments' series, personal photos translated into intaglio type digital prints in the 'Double North Star' series, and a sculpture depicting a reproduction of a 19th-century urine deflector. These works, along with others, explore historical references, personal narratives, and the re-contextualization of everyday objects.
While the specific artworks at SIMULACRA may not directly reference 'The Pawn Shop' project, there are shared themes and approaches that link the two exhibitions. Both emphasize the exploration of objects, value systems, and historical contexts, providing viewers with thought-provoking perspectives on materiality and societal constructs.
The Pawn Broker, documenta fifteen, Kassel, 2022
©Villiam Miklos Andersen
Q：在你最近的系列作品中，探讨了现代男性主导的工作环境的主题。你能阐述一下强调敏感、关怀和有意义的审美时刻的潜力背后的目的和意图吗？这种审视模式是否意味着对这些环境的批判性观察或反思？
A：作为一个在农村长大的酷儿，我一直对不同社会阶层和背景的工作得到不到成比例的认可感兴趣。作为一个雕塑家，我旨在深入这些主题和矛盾之中。在我最近的一个系列作品中，我探讨了物流业中男性占主导地位的工作环境，重点是关系、欲望、短暂性和供应链等方面。
我的作品研究的核心内容之一是调查供应链以及支撑它们的网络。例如，我在SIMULACRA展出的 "双北极星 "系列中，我展示了我在瑞典基律纳的世界上最大的地下铁矿周围进行研究的照片，以及相关的铁路网络延伸到有极地景观的挪威纳尔维克的铁港口，在那里材料被运到全球。
目前，我还在从事对全球各种食品配送中心的长期探索，如布朗克斯区的亨茨角配送中心和巴黎的隆吉国际市场。
通过研究供应链，我还在深入研究它之间的关联性以及集体劳动形式，同时也认识到物流业中工作群体固有的男性主导的性质。我很好奇供应链内工作方法的标准化和优化与产品的同质化之间的交叉点。通过我的作品，我试图探索这些联系及其美学意义，并推测类似的规范性思维可能主导这两个领域。作品在强调男性主导的工作环境中敏感、关怀和有意义的审美时刻，是为了对这些环境提供一个批判性的观察和反思。通过揭示这些动态，我希望挑战社会规范，促进对话，并探索围绕劳动、权力和我们与工作世界的关系的其他叙事。
Double North Star (Royal Diner), 60×80cm, Intaglio type digital halftone prints, acrylic glass, museum glass,acrylic nuts and bolts, 2023, ©Villiam Miklos Andersen
Q: In your recent series of works, you have explored the theme of modern male-dominated work environments. Could you elaborate on the purpose and intention behind emphasizing the potential for sensitivity, care, and meaningful aesthetic moments? Does this mode of scrutiny imply a critical observation or reflection on these environments?
A: As a queer person who grew up in the countryside, I have long been intrigued by the disproportionate recognition of different types of work based on social class and context. As a sculptor, I aim to engage with these themes and the contradictions they present. In my recent series of works, I have explored the concept of male-dominated work environments within the logistics industry, focusing on themes of relationships, desire, transience, and supply chains.
One of the central aspects of my artistic research is the investigation of supply chains and the networks that underlie them. For instance, in my 'Double North Star' series exhibited at SIMULACRA, I present photographs from my research conducted around the world's largest underground iron mine in Kiruna, Sweden, and the associated railway network stretching across the polar landscape to the iron harbor in Narvik, Norway, where the materials are then shipped globally.
Additionally, I am currently engaged in a long – term exploration of various food distribution centers worldwide, such as the Hunts Point Distribution Center in the Bronx and the Marché International de Rungis in Paris.
By examining the supply chain, I am delving into the interconnectedness and collective labor that it represents, while also recognizing the inherent male-dominated nature of working communities within the logistics industry. I am intrigued by the intersections between the standardization and optimization of working methods within the supply chain and the homogenization of products to fit seamlessly into its loop. Through my work, I explore these connections and their aesthetic implications, postulating that similar normative thinking may dominate both fields.
In emphasizing the potential for sensitivity, care, and meaningful aesthetic moments within male-dominated work environments, my intention is to offer a critical observation and reflection on these environments. By shedding light on these dynamics, I hope to challenge societal norms, prompt dialogue, and explore alternative narratives surrounding labor, power dynamics, and our relationship with the world of work.
Double North Star (Bar Cock), 60×80cm, Intaglio type digital halftone prints, acrylic glass, museum glass,acrylic nuts and bolts, 2023, ©Villiam Miklos Andersen
Q：在您探索现代男性主导的工作环境时，是否有意识地考虑了性别、身份或社会角色这些因素对个人生活和社会组织的影响？
A：是的，在我对现代男性主导的工作环境的探索中，性别、身份和社会角色是必不可少的考虑。我在有意识地研究这些因素对个人生活和社会组织的影响。
通过关注男性主导的行业，如物流业，我旨在阐明在这些工作环境中发挥作用的性别关系。通过我的艺术研究，深入探索了社会规范和期望如何塑造性别身份并促成权力失衡的复杂性。
我通常对质疑与行业相关的传统男性观念特别感兴趣。我的目标是探索在工作内外，这些期望是如何影响个人的经验、关系和生活的。
此外，我对性别和身份的探索还延伸到更广泛的社会角色及其对社会组织的影响。我试图了解根深蒂固的性别角色和期望是如何影响男性主导行业内的集体劳动的。通过审查这些方面，我希望促进对性别平等、社会公正以及需要包容和多样性的工作环境的批判性讨论。
通过我的艺术实践，我旨在为性别、身份和社会角色的更广泛对话作出贡献，促进对男性主导工作环境中个人面临的复杂性和挑战的更深入理解。
November 十一月, SIMULACRA拟像, 北京，2023
Q: In your exploration of modern male-dominated work environments, are you consciously considering the influence of genders, identity or social roles on personal lives and social organization?
A: Yes, within my exploration of modern male-dominated work environments, gender, identity, and social roles are essential considerations. I am consciously examining the influence of these factors on both personal lives and social organization.
By focusing on male-dominated industries such as the logistics sector, I aim to shed light on the gender dynamics at play within these work environments. Through my artistic research, I delve into the complexities of how societal norms and expectations shape gender identities and contribute to power imbalances.
I am particularly interested in questioning and challenging traditional notions of masculinity that are often associated with these industries. I aim to explore how these expectations impact individuals' experiences, relationships, and personal lives, both within and outside of work.
Furthermore, my exploration of gender and identity extends to examining broader social roles and their impact on the organization of society. I seek to understand how entrenched gender roles and expectations influence the collective labor and dynamics within male-dominated industries. By scrutinizing these aspects, I hope to encourage critical discussions about gender equity, social justice, and the need for inclusive and diverse work environments.
Through my artistic practice, I aim to contribute to a broader dialogue on gender, identity, and social roles, fostering a deeper understanding of the complexities and challenges individuals face in male-dominated work environments.
Consignment № 5 (The Portal), 120×210×80cm, Acrylic glass, oak wood, plywood (poplar), battens (spruce), EUR pallet, brackets, screws, acrylic nuts and bolts, 2021, ©Villiam Miklos Andersen
Q：你的作品中呈现的庞大系统网络给观众传达了什么？
A：在我的作品中，我运用各种技巧和概念描绘了广泛系统网络和生产优化对个人生活的影响。通过视觉表现出相互的关系和象征意义，我试图引发对现代社会组织、劳动模式和人际关系的深思熟虑。激发对这些系统后果的批判性反思，以及促进解决这些问题的方案的讨论。
Q: What does the vast network of systems presented in your work convey to the viewer?
A: In my artworks, I depict the impact of vast systemic networks and relentless optimization on individual lives using various techniques and concepts. Through visual representations of interconnected networks and symbolism, I aim to evoke contemplation about modern social organization, labor patterns, and interpersonal relationships. My intention is to spark critical reflection on the consequences of these systems and stimulate conversations about alternative approaches to these issues.
Umsteigemöglichkeit, Kunsthal Aarhus, Denmark & Aarhus, 2020
©Villiam Miklos Andersen
Q：你在接下来的实践有新的想讨论的问题吗？
A：我很高兴能在SIMULACRA展览的基础上探索新的主题和问题。这是第一次，我通过制作一系列的 "公共建筑 "来重塑公共空间的历史结构，其中的亚克力雕塑代表了在哥本哈根发现的公共卫生间。通过这个系列，我以一种酷儿视角看待我的作品，寻求挑战并重新思考公共空间中被忽视的元素。这个主题和艺术形式使我产生了很强的共鸣，我打算在我未来的雕塑作品中进一步发展和探索它们。
Q: Do you have any new topics or questions to explore in your upcoming artistic practice?
A: I am excited to explore new topics and questions that build upon the exhibition at SIMULACRA. For the first time, I recreated historical structures from public spaces by crafting a series of Public Establishments,' which feature acrylic glass mosaics representing public urinals found in Copenhagen. Through this series, I approach my work with a queering perspective, seeking to challenge and reimagine neglected elements of public space. This theme and artistic form have resonated strongly with me, and I intend to further develop and explore them in my future sculptural works.
November 十一月, SIMULACRA拟像, 北京，2023
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