英格蘭鄉間的中國藝術
In 2009, the Chinese-American artist Jennifer Wen Ma took over a pottery kiln in Japan’s Niigata prefecture.
2009年，美籍華裔藝術家馬文(Jennifer Wen Ma)接手了日本新瀉縣(Niigata)的一個陶瓷窯。
For her piece You Can’t Always See Where You Are Going, But Can You See Where You’ve Been?, she flooded the sloping chambers of the kiln with black ink, and then drenched the surrounding vegetation in the pigment.
在她的作品《你不會總知道自己將去何方。但是你知道自己去過哪裏嗎？》(You Can’t Always See Where You Are Going, But Can You See Where You’ve Been?)中，她把傾斜的窯爐中灌滿黑色墨水，之後把周圍的植被染上顏色。
Since then Ma, who began her career as an oil painter but soon found the discipline of ink wash increasingly attractive, has repeatedly revisited a vision of the world as an ink painting.
自那之後，她從水墨畫的角度不斷重新審視這個世界。馬文以油畫畫家的身份開始職業生涯，但她很快發現自己越來越着迷於水墨的魅力。
Ink is used to fill reflective pools in Ma’s latest installation, Molar, which lies at the heart of the Cass Sculpture Foundation’s A Beautiful Disorder exhibition.
在馬文最新的裝置作品《蘊》(Molar)中，墨水被用於填滿反光池。該作品在卡斯雕塑基金會(Cass Sculpture Foundation)的無序之美(A Beautiful Disorder)展覽中處於中心位置。
From the ground up, an inky landscape takes shape: the pitch-black liquid coalesces in wells, whose surfaces acquire a strange, impure sheen as the ink’s mineral-rich content floats to the surface.
從地面往上，一個立體的水墨景觀出現在人們眼前：井中充滿漆黑的液體，墨水中富含礦物質的成分漂浮在表面上，形成一層怪異、不純的光澤。
Even the air takes on the fragrance of the pigment.
就連空氣中也散發着顏料的香味。
Ma places glowing glass orbs in the ink pools, then marks the enclosure with glass panels bearing ink paintings of the surrounding West Sussex countryside.
馬文在墨水池中放入發光的玻璃球，然後用帶有周圍的西薩塞克斯郡(West Sussex)鄉村風景水墨畫的玻璃面板把池子圍起來。
From the ceiling, a tree bursts through, its foliage coated black with ink, sprouting cancerous, crystalline fruit.
從屋頂看，一棵樹從中穿過，葉子用墨水塗黑，樹上長着腫瘤一般的晶體果實。
These 400 hand-blown glass pieces contain teardrop-shaped, sperm-like structures, as well as voluptuous fertility symbols, while others have mutated into malignant cell-like forms.
這400個人工吹制的玻璃製品包含淚滴形、精子形，同時還有象徵着生育能力的飽滿形狀，而還有一些果實突變成惡性腫瘤般的形狀。
As in traditional Daoist thought, the internal workings of the human body here become a microcosm of the wider natural world.
就像傳統的道家思維，人體的內部構造在這裏成了整個自然界的縮影。
For this exhibition, Cass has invited young artists from the Greater China region to create installation pieces across its extensive grounds, covering light woodland and open fields, as well as indoor gallery space.
對於此次展覽，卡斯邀請了來自大中華區的年輕藝術家，在整個寬闊的場地（包括明亮的樹林和開闊田野，還有室內展示空間）創作裝置作品。
In doing so, it has recorded a search for what the French Jesuit painter Jean Denis Attiret, a missionary to China in the 18th century, called the beautiful disorder of Chinese landscape aesthetics.
這樣一來，它記錄下一個搜尋過程，目標是18世紀前往中國的耶穌會傳教士、法國畫家王致誠(Jean Denis Attiret)所稱的中國景觀美學中的無序之美。
His description was echoed by another western visitor to China at the time, the architect William Chambers, for whom the Chinese garden created violent or opposing sensations: a container for the pleasing, the terrible and the surprising.
這一描述得到了另一位在同一時期前往中國的西方人、建築學家威廉•錢伯斯(William Chambers)的贊同。對錢伯斯而言，中國園林創造了暴力或者對立的感覺：融合了愉悅、糟糕和驚喜。
A Beautiful Disorder makes extensive use of the principle of jiejing, or the borrowed view, in which the extended landscape is brought into view to create a provocative framing for each sculpture, from the micro-level in Zhang Ruyi’s Pause, where a stretch of woodland is studded with tiny electrical sockets, through to Cui Jie’s Pigeon’s House, in which the artist builds a tower out of architectural motifs from Beijing’s urban landscape, overlooking an English pastoral expanse.
無序之美大量運用了借景的手法，把延伸的景觀引入視野，爲每座雕塑創建一個引人入勝的框架，無論是張如怡的作品《暫停》中的微觀層面（微小的電源插座散佈在一片林地）、還是崔潔的《鴿子的房子》（藝術家根據北京城市景觀的建築特色建造了一座塔樓，俯瞰着英格蘭的無垠田園）。
It also traces the ways in which Chinese sculpture and installation art often revolve around a sensation of boundaries becoming corrupted and twisted.
該展覽還延續了中國雕塑和裝置藝術往往圍繞一種瀕臨頹廢和扭曲的邊緣感覺的方式。
For the artist Cheng Ran, for example, the sculpture park’s patches of woodland offer possibilities for probing the edges of psychological states.
例如，對藝術家程然來說，雕塑公園內的林地提供了探索心理狀態邊緣的可能。
Born in Inner Mongolia in 1981, Cheng is better known for his trance-like video art, where he remixes Hollywood film and Korean soap operas.
程然1981年出生於內蒙古，他更爲人熟知的是迷幻風格的視頻製作藝術（對好萊塢影片和韓劇進行混編）。
Yet he has always been fascinated by the natural world’s capacity for provoking hypnagogia — a state between dreaming and waking.
不過，他總是着迷於自然界引發半夢半醒（hypnagogia ，一種介於做夢和清醒之間的狀態）的能力。
In his surreal 2009 video The Sorrows of Young Werther, Cheng portrayed a midnight forest, which he then interrupted with explosions of colour using suspended mirrored spheres and disco balls.
在2009年製作的超現實主義視頻《少年維特之煩惱》(The Sorrows of Young Werther)中，程然營造了一個午夜森林的環境，然後用懸掛的鏡面球體和迪斯科球燈的強烈色彩打破了靜謐。
In his piece Crossroads here, Cheng has reversed the idea, after studying the pattern of sunlight and shade in the woodland.
在研究了樹林中光和影的模式後，他在作品《十字路口》中逆轉了那種創意。
He uses scaffolding to hoist up a light which perpetually bathes the trees in artificial, dappled sunlight, creating another kind of dream-space.
他用腳手架支起一盞燈，使樹木沐浴在斑駁的人造光線中，營造出另一種夢境。
The development of contemporary art in mainland China can be distinguished from that of the west through what the University of Chicago art historian Wu Hung has called a pattern of rupture.
與西方當代藝術不同的是，中國內地當代藝術的發展被芝加哥大學(University of Chicago)的藝術史學家巫鴻(Wu Hung)稱爲隔斷模式。
He suggests that Chinese history has been subject to a series of violent political and ideological fractures, with the result that artists are in a state of constant reorientation.
他認爲，中國歷史經歷了一系列劇烈的政治和意識形態上的斷裂，結果就是藝術家處於不斷重新定位的狀態。
The potential of past ideologies to become strange and alien is taken up in Wang Yuyang’s Identity.
王鬱洋在其作品《特性》中探索了昔日的意識形態變得奇怪而異化的可能。
Wang has converted Karl Marx’s Capital into binary code, and then fed it into 3D rendering software which produced construction and material calculations for the artist.
他把卡爾•馬克思(Karl Marx)所著的《資本論》(Capital)轉化爲二進制代碼，而後把代碼輸入三維渲染軟件，由其生成結構和爲這名藝術家進行材料計算。
From that, Wang has produced a colossal fungus-like column of brass, steel and marble.
在此基礎上，王鬱洋製作了一個由銅、鋼和大理石構成的巨型菌狀柱體。
Song Ta’s performance-installation work Why do they never take colour photos? reflects even further on the mercurial qualities of China’s past.
宋拓的行爲藝術裝置作品《爲什麼他們從不拍彩色照片？》更深層次地表現了中國歷史的劇變特點。
An enormous white bust of Chairman Mao has been placed in a seemingly post-apocalyptic grove of trees coated in lime-wash grey, in which students from a local theatre school skulk and dance.
毛主席的巨型半身雕像被置於看似後世界末日的樹林（林幹均被刷成石灰色）中，來自當地話劇學校的學生或是鬼鬼祟祟地出沒其中，或是翩翩起舞。
The effect is of a profound rupture between past and present: gone are the images of workers and soldiers striding out from beneath the Chairman’s radiant gaze that used to adorn propaganda of the Maoist era.
作品凸顯了過去與現在之間的深層次隔斷：在毛主席像（曾在毛澤東時代用來宣傳主旋律）的凝視下大踏步走過的工人和士兵的畫面已經成爲過去。
Until the turn of the millennium, the kinds of installation pieces hosted at Cass would have been relegated to the periphery by mainland China’s state-art system.
直到進入21世紀前，卡斯展出的裝置作品一直被中國內地的國家藝術體系歸爲邊緣藝術。
The art scene is now vastly different, and a surging generation of Chinese artists is seeking a globalised, cosmopolitan identity for itself, in contrast with the dominant national allegories of the past.
如今的藝術界風格迥異，與過去主導性的國家使命形成反差的是，新一代藝術家正在爲自己尋找全球化、世界主義的身份認同。
But Chinese installation art has always carried the traces of impermanence.
但是，中國裝置藝術一直帶有無常的痕跡。
In a combination of shifting ink wash, the contours of the natural setting, and blockbuster installation artworks, A Beautiful Disorder teaches us to see these markers of displacement and transience even within the sedate confines of an English country estate.
在水墨、自然環境以及大型裝置藝術作品的結合中，無序之美教會我們觀察到置換和轉瞬即逝的記號——即使是在靜謐的英國鄉村莊園。
