How Artists Reveal the Emotion Hidden in Our Cities – 艺术家如何揭示隐藏在城市中的情感

When was the last time you cried over a table, or experienced an existential crisis while crossing a footbridge? Unless you’re an architect or designer, the answer is probably never. But contrary to the feel of anonymous glassy high-rises and soulless minimal furnishings defining contemporary city life, the built environment exerts an enormous psychological and affective power over its public. Three concurrent exhibitions in London reveal the emotionalism of such human landscapes, recasting objects and places we interact with daily as vessels capable of storing both personal and collective memory.

In the heart of the City, surrounded by sprawling modernist skyscrapers, a hanok – a traditional Korean house – has materialized upon a public footbridge near Liverpool Street. From either side of the to-scale dwelling spills a tangled bamboo garden, while the house lurches precariously at an angle, as if poised to slip off the walkway and onto the honking traffic lined bumper-to-bumper on Wormwood Street below. Bridging Home, London (2018) by the South Korean artist Do Ho Suh – a commission by Art Night and Sculpture in the City – behaves, like memory, as both a temporary roadblock and a potential space of reorientation. 

Do Ho Suh, Bridging Home, London, 2018, steel structural frame with sub timber frame, plywood, and painted finish, dimensions variable. Courtesy of the artist; Lehmann Maupin, New York, Hong Kong and Seoul; Victoria Miro, London/Venice; photograph: HOK

How Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感

Do Ho Suh, Bridging Home, London, installation view, London, 2018. Courtesy: the artist; Lehmann Maupin, New York, Hong Kong and Seoul; Victoria Miro, London and Venice; photograph: HOK

It is dusk on a dark autumnal day, and as the surrounding cityscape slips into the deep purple sky hanging overhead, two security lights flicker on in the surreal garden. Startling a few pedestrians who were previously unaware of its presence, the house absorbs the responsibility of the malfunctioning street light nearby, illuminating the road for those crossing below. 

Suh is known primarily for his haunting architectural installations in which panels of translucent pastel-tinged fabric are suspended from gallery ceilings as full-scale reincarnations of past homes; this move into the public sphere is both deliberate and unprecedented for the artist in London. While Bridging Home, London reflects his own experience as an immigrant to London, which Suh refers to as his ‘adopted home’, the installation reflects a broader pattern of migration characterizing the city’s East End. The confounding presence of Bridging Home, London – both unstable yet rooted in its new environment – makes the individual experience of migration both tangible and collective, extending empathy to the surreal feeling of floating between worlds. 

Doris Salcedo, 'Palimpsest', 2018, installation view, White Cube Bermondsey, London. Courtesy: the artist; photograph: White Cube

How Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感

Doris Salcedo, Palimpsest, 2013-2017, installation view, White Cube Bermondsey, London, 2018. Courtesy: the artist; photograph: White Cube

South of the river at White Cube Bermondsey, Colombian artist Doris Salcedo has created an equally precarious and mythical environment. Five years in the making, Palimpsest (2013-17) takes on the migrant crisis in Africa and the Middle East through a time-based installation in which the gallery has been transformed into a living memorial.

A complex hidden hydraulic system runs beneath the gallery’s floor, where the names of 158 deceased refugees appear – either carved into the marble panels(for those who died before 2010) or through intermittent spurts of water (for those who died between 2011 and 2016, and whose deaths still linger). Computer algorithms periodically ‘flood’ the sand-like surface with new names as the floor mourns their loss in an endless cycle. Visitors must step over names to navigate the space; a careless foot can cause puddles of grief in wayward places. Impossible to evaporate or draw back underground, they glisten like silver underneath the gallery lights.

Doris Salcedo, Tabula Rasa, 2018. Courtesy: the artist; photograph: White Cube

How Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感

Doris Salcedo, Tabula Rasa, 2018. Courtesy: the artist; photograph: White Cube

In the North Galleries, Tabula Rasa (2018)appears to be just that – five nondescript tables. Yet on closer inspection, they have been painstakingly repaired by a team of 20 assistants following a violent destruction that reduced the lot to thousands upon thousands of wood chips. Even where tightly recomposed, a threatening roughness lingers underneath the vulnerability. The tables’s legs, meanwhile, were not so lucky: big gashes are missing from their spindly frame, as if subject to a particularly vicious breed of termite. Based around a three-year period of interviewing rape victims, Tabula Rasa addresses the act of meticulous self-reconstruction following trauma as well as the exegesis of an inward suffering. 

Floating somewhere between Do Ho Suh and Doris Salcedo are the latex and gauze ‘skinnings’ of buildings by the Swiss artist Heidi Bucher, currently on show at Parasol Unit. Like Suh, Bucher, who passed away in 1993, understood architecture as a repository of personal memory; yet for her, the process of peeling off its skin wasn’t an effort to transport the space into the present so much as isolate it as a relic of the past. 

heidi_bucher_installation_18.jpg

How Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感

Heidi Bucher, 2018, installation view, Parasol Unit, London. Courtesy: Parasol unit foundation for contemporary art; photograph: Benjamin Westoby

Although many of the rooms she cast were instrumental to her life – both studios occupied and childhood homes – Bucher had intensely problematic relationships with these spaces: the hermetic gentleman’s study; the lavish domestic architecture of the Swiss bourgeois. Casting was a means of distancing, and this desire for a critical separation was often reflected in their method of presentation – pierced and hung up on flag poles and trees, as with Fliegender Hautraum (1981); dumped in quarries and building sites; even, on one instance, stacked in mid-air by a crane: the billowing skin of her old family home, Ahnenhaus (1980-1982), flapping like a flattened doll’s house in the wind. 

There is a certain violence to the work, made evident with the video work Bellevue, Kreuzlingen (1990) by Michael Koechlin that shows Bucher methodically peeling a skin also included in the exhibition. As if battling with a monster, Bucher makes small victories yanking the gauze off the double-height mahogany door, although it eventually consumes her. But unlike the works of Gordon Matta-Clark or Rachel Whiteread, Bucher’s work neither necessitates a permanent physical damage done to the architecture nor precedes its inevitable destruction. 

Heidi Bucher, 2018, installation view, Parasol Unit, London. Courtesy: the artist

How Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感

Heidi Bucher, 2018, installation view, Parasol Unit, London. Courtesy: Parasol unit foundation for contemporary art; photograph: Benjamin Westoby

Like our own skin, Bucher’s semi-translucent, amber-hued material stretches and weakens over time, subject to the laws of gravity and the wear and tear of exhibitionism. Perhaps, in choosing to cast the opulent architecture of bourgeois Swiss society – all balconies and shutters, shingles and parquet – Bucher intended to subject those values to a slow death: a public shaming. There is a seductive quality to the work, but also something grotesque – the pungent smell of latex reminiscent of a costume shop; the hairy follicles of Parquet floor of study in Winterthur-Wülfingen (1979), tinged with a sickly mother of pearl pigment, somehow twisting the luxurious subject and materiality on its head. 

From influencing our wellbeing, as the Wellcome Collection’s current exhibition suggests, to reinforcing state supremacy, as evinced by the work of Forensic Architecture (a finalist in this year’s Turner Prize), the socio-political power of architecture has become a salient topic in recent years. But in our discussion of such spatial politics, we can miss the emotional and affective qualities underpinning our relationship with the built environment and public space. Do Ho Suh, Doris Salcedo and Heidi Bucher bring an urgent awareness to this spectrum of feeling. They reveal, with a poetic sensibility that is both uplifting and heartbreaking, the politics of the personal, and the opportunities for collective experience that happen somewhere in between. 

Main image: Do Ho Suh, Bridging Home, London, installation view, London, 2018. Courtesy: the artist; Lehmann Maupin, New York, Hong Kong and Seoul; Victoria Miro, London and Venice; photograph: HOK

Alice Bucknell

Alice Bucknell is an artist and writer based in London. She has been published in Architectural Review, Elephant and Wallpaper*.

Opinion /

Do Ho Suh
Heidi Bucher
Doris Salcedo
London
Parasol Unit
White Cube
Alice Bucknell
Opinion


你最后一次在桌子上哭,或者在穿越人行道时经历了生存危机是什么时候?除非你是建筑师或设计师,否则答案可能永远不会。但是,与那些无名无实的高楼大厦和无灵魂的极简家具定义当代城市生活的感觉相反,建筑环境对公众施加了巨大的心理和情感力量。同时在伦敦举办的三个展览揭示了这种人类景观的情感色彩,重塑了我们日常交往的物品和地点,作为能够储存个人和集体记忆的容器。在市中心,四周是宽敞的现代主义摩天大楼,一座汉诺克——一座传统的韩国房子——出现在利物浦街附近的一座公共人行天桥上。从任何一侧的大型住宅都散落着一个纠缠不清的竹园,而房子却摇摇晃晃地倾斜成一个角度,好像要滑下人行道,撞到下面沃姆伍德街上接连不断的蜂鸣的交通工具上。韩国艺术家D.布里奇家,伦敦(2018)o Ho Suh——城市艺术之夜和雕塑的委托——表现得像记忆一样,既是临时路障,又是潜在的重定向空间。变量。艺术家的礼貌;Lehmann Maupin,纽约,香港和汉城;Victoria Miro,伦敦/威尼斯;照片:HOHow Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感做Ho Suh,桥回家,伦敦,安装视图,伦敦,2018。礼貌:艺术家,Lehmann Maupin,纽约,香港和汉城;Victoria Miro,伦敦和威尼斯;照片:HOK是在一个黑暗的秋日的黄昏,当周围的城市景观滑入深紫色的天空悬挂在头顶上,两个安全灯闪烁在超现实。花园。这所房子让几个以前不知道它存在的行人感到惊讶,它吸收了附近路灯故障的责任,照亮了下面那些过马路的人。画廊的天花板上悬挂着淡淡的粉彩织物,作为过去家园的全面转世;这对于伦敦的艺术家来说,进入公共领域既是刻意的,也是史无前例的。在桥家时,伦敦反映了他作为移民到伦敦的经历,Suh称之为他的“收养之家”,这个设施反映了城市东端的更广泛的移民模式。伦敦桥家令人困惑的存在——既不稳定,又植根于其新环境——使得移徙的个人体验既有形的,也有集体的,将移情延伸到漂浮在世界之间的超现实感。安装视图,白色立方体Brimdsie,伦敦。礼貌:艺术家;照片:白色立方体,How Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感,Doris Salcedo,Palimpsest,2013-2017,安装视图,白色立方体,伦敦,2018。礼貌:艺术家;照片:白立方在伯蒙西白立方以南的河流,哥伦比亚艺术家多丽丝·萨尔塞多创造了同样不稳定和神话般的环境。帕林普斯特(Palimpsest)(2013-17)正在酝酿五年,它通过一个基于时间的装置来处理非洲和中东的移民危机,在这个装置里,美术馆已经变成了一个活生生的纪念馆。一个复杂的隐藏液压系统运行在美术馆的地板下,158名已故难民的名字出现在那里——要么刻在大理石板上(对于在2010年之前死亡的人),要么通过间歇性的喷水(对于在2011年和2016年之间死亡的人,他们的死亡仍然存在英格)计算机算法周期性地用新的名字淹没沙子般的表面,就像地板在无尽的循环中哀悼它们的损失一样。访问者必须跨过名字来导航空间;粗心大意的脚会在不规则的地方造成悲伤的水坑。地下不可能蒸发或倒退,它们闪闪发光,就像银在画廊的灯光下。Doris Salcedo,Tabula Rasa,2018岁。礼貌:艺术家;照片:白色立方体How Artists Reveal the Emotion Hidden in Our Cities - 艺术家如何揭示隐藏在城市中的情感多丽丝SalCEDO,Tabula Rasa,2018。礼貌:艺术家;照片:白色立方体。在北方画廊,Tabula Rasa(2018)看起来就是那张桌子——五张不具名的桌子。然而,经过更仔细的检查,他们被一个由20名助手组成的团队精心修复,随后他们遭到了猛烈的破坏,导致成千上万块木屑。即使在严密重组的情况下,威胁的粗糙度仍在脆弱的下方徘徊。同时,桌子的腿也没那么幸运:细长的架子上没有大的裂缝,好像受到了一种特别凶恶的白蚁的侵袭。Tabula Rasa以约三年的时间来采访强奸受害者为基础,讲述了创伤后细致的自我重建行为以及内心痛苦的解释。漂浮在Do Ho Suh和多丽丝Salcedo之间的某处是乳胶和纱布“皮肤”。由瑞士艺术家Heidi Bucher,目前在阳伞单位展出。像苏一样,1993年去世的布歇尔把建筑理解为个人记忆的宝库;然而对她来说,剥去建筑表皮的过程并不是为了把空间搬进现在,而是为了把它当作过去的遗物来隔离。PG WPA6024602IMG Heidi Bucher,2018,安装视图,阳伞单位,伦敦。礼貌:当代艺术的阳伞单位基金会;照片:Benjamin Westoby,尽管她所投的许多房间都是她生活的工具——既有工作室也有童年住宅——Bucher与这些空间有着强烈的问题关系:密闭G。恩特勒曼的研究;瑞士资产阶级的奢华的国内建筑。铸造是一种疏远的手段,这种对关键分离的渴望经常反映在它们的表现方法上——像Flie.Hautraum(1981)一样,穿孔并悬挂在旗杆和树上;倾倒在采石场和建筑工地上;甚至,在一个例子中,堆在半空中。起重机:她家老房子安南豪斯(1980-1982)的翻滚的皮肤在风中像压扁的洋娃娃的房子一样拍打着。从迈克尔·科奇林的视频作品《Bellevue,Kreuzlingen》(1990)中可以明显看出,作品中有一定的暴力场面。一个皮肤也包括在展览中。好象在和怪物搏斗,布歇尔把纱布从双层高的桃花心木门上拽下来,取得了小小的胜利,尽管它最终吞噬了她。但与戈登·马塔·克拉克或瑞秋·怀特雷德的作品不同,布歇尔的作品既不需要对建筑造成永久性的物理破坏,也不需要在不可避免的破坏之前进行。礼貌:艺术家WPA6025602IMG Heidi Bucher,2018,安装视图,阳伞单位,伦敦。礼貌:当代艺术的阳伞单位基金会:照片:Benjamin Westoby像我们自己的皮肤,Bucher的半透明,琥珀色的材料随着时间的推移拉伸和减弱,服从重力定律和磨损的磨损。也许,在选择投射瑞士资产阶级社会的豪华建筑——所有的阳台和百叶窗、瓦片和镶花地板——时,布歇尔打算使这些价值慢慢地消亡:公众的羞耻。作品具有诱惑力,但也有些怪诞——令人联想到服装店的乳胶的刺鼻气味;温特休-威尔芬根(1979)Parquet书房地板上毛茸茸的毛囊,染上了病态的珍珠颜料之母,不知何故扭曲了豪华的主题。从影响我们的福祉,如惠康收藏(Wellcome Collection)目前的展览所表明的那样,到加强国家至高无上的地位,正如法医建筑(今年特纳奖的决赛者)的工作所表明的那样,建筑的社会政治力量已经显现出来。我是近年来的一个突出话题。但在我们对这种空间政治的讨论中,我们可能会错过支撑我们与建筑环境和公共空间关系的情感和情感品质。Ho Suh、Doris Salcedo和Heidi Bucher是否对这种感觉产生了强烈的认识。它们以令人振奋和心碎的诗情揭示了个人的政治以及发生在两者之间的集体体验的机会。主要形象:Do Ho Suh,Bridgeing Home,.,安装视图,.,2018。礼貌:艺术家,Lehmann Maupin,纽约,香港和汉城;Victoria Miro,伦敦和威尼斯;照片:HK爱丽丝巴克内尔爱丽丝巴克内尔是艺术家和作家在伦敦。她发表在《建筑评论》、《大象与壁纸》上。意见/做何秀海蒂屠夫-多丽丝·萨尔塞多-伦敦伞兵部队-白立方-爱丽丝·巴克内尔意见


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