Bilbao. 相當享受的藝術館：Guggenheim Muesum

這是我去了這麼多美術館裡，相當享受，參觀時間最長久的地方。我用了六小時才慢慢把它很多的作品品嚐完畢。它是匯集出各現代藝術家的作品，有畫、裝置藝術、雕塑、影片、聲音等，而且會不定期更改館中的一些展品。然而，正因為所展出是來自各人所關心的主題不同，就也出現各種不同的藝術品。

The Luminous Interval

這是該館的其中一個展覽主題，來知一位希臘哲學家，Nikos Kazantzakis(1883-1957)。他認為"life as a luminous interval during which decomposition and decay are necessary prerequisites to creation and renewal"。

現在，選擇一些可以在網絡上找到資料，並自己也有很大感受的藝術品出來分享。

http://www.guggenheim-bilbao.es/microsites/the_luminous_interval/index.php?idioma=es

Cavemanman, 2002,
Thomas Hirschhorn
b. 1957, Bern

"Thomas Hirschhorn´s projects employ humble materials to create low-tech sculptures and structures that are permeated with images and information. Hirschhorn´s Cavemanman (2002) is a sprawling installation, a packing-tape-and-cardboard cavern with several chambers connected by winding tunnels. Its floor is strewn with empty aluminum cans and fake rocks. Posters from popular culture are plastered on the walls and ceiling, and photocopies of assorted political and philosophical texts line the hallways. Repeatedly spraypainted across the wall of one room like a mantra is the motto "1 Man = 1 Man," an affirmation of universal equality and a call to disassemble hierarchies. This slogan sets the tone for the utopian postapocalyptic community that might inhabit these caves. Groups of cardboard human figures and mannequins wrapped in tinfoil are joined together by a system of foil cords that also extend to books on topics such as democracy, equality, and community, as well as to foil explosives—a combination that suggests the power of thought and information. "

我記得走在這個由紙皮及封箱膠紙所製造出來的環境，視覺震撼之外，Thomas 的佈置，使我想了很多。至少，一個烏托邦的世界，人們是否要努力主動閱讀多種不同的學術作品並放棄資本主義所帶來的垃圾？在這個空間，Thomas放了很多經典的書藉在其中，很多也是哲學書。當中不乏提及重要的概念理解。那一刻，我在想要是人們能多讀書，世界是否真的更美好？還是，世界仍然有其黑色的一面呢？當每個人也成為一個哲人，一個學者，這個世界會怎樣地運作？

Tomato Head (Burgundy), 1994
Paul McCarthy
b. 1945, Salt Lake City, Utah

"Much like the children´s toy Mr. Potato Head, the life-size figure of Paul McCarthy´s Tomato
Head (Burgundy) (1994) has holes in place of eyes, nose, mouth, and ears, where various pegs may be inserted to give the figure different appendages or expressions. Unlike the toy, however, there are holes in its groin and anus where pegs could also be inserted. The work suggests an ability to construct identity: making these changes and substitutions allows the figure to play with potential self-iterations and explore all the possible identities available to it. However, even though the figure has several items at its disposal with which to auto-configure, these are a prefabricated, predetermined set. This limitation speaks to the restricted number of identities and lifestyle choices available to individuals in normative contemporary culture."

這個作品，一進那展覽室就自然被吸引著。那色彩的繽紛，那可憐的蕃茄頭，你會想，究竟Paul想表達什麼？當我留神分析，很認同最後的表現。就算我們看到自己好像很多選擇，其實那些選擇好像以是既定了，有限的選擇吧了。人又怎樣能述說自己是有選擇可言？我不大談什麼現化社會的觀點，只就自己作為香港人而言。在這裡長大，想法好像很狹小。那種思考的意識流，有時也是很「香港式」的，例如求問實用價值，為自己將來的計劃設想，隨時感到悶、孤獨等。這並不意味著我把香港式一切看低，我只是想表達，人在某地方出生，生活久了，便難以跳出一些空間，甚至察覺不到自己在小空間內看世界。再者，要跳出這個空間，也並不是容易的事。更重要的是，跳出了又如何？跳出了，好像有更多的選擇吧。然而，這是真的嗎？對自身價值觀的審視與評斷，往往很令人害怕，也很教人沮喪。能出走者，為他高興；困在那裡者，為他擔憂。

我也正處於這個階段嗎？還是，仍然活於封閉了的價值選擇世界之中？

Current Disturbance, 1996
Mona Hatoum
b. 1952, Beirut, Lebanon

"Mona Hatoum frequently creates uncanny environments that probe at conflicting dualities such as order and chaos, or familiarity and the unknown. Each of the cages in Hatoum´s Current Disturbance (1996) contains a single lightbulb that brightens and dims at intervals prescribed by a computer program that controls each bulb´s current stream individually. The sound of the current running to each bulb is simultaneously amplified through speakers so that the experience is both visual and aural. As more current runs through a bulb, the sound becomes louder and the light becomes brighter in a way that is potentially quite agitating. The frenetic changes of light and sound produce a feeling of anxiety that is enhanced by the sense that the viewer is witnessing a trauma. The cage structure conjures thoughts of lab experimentation, factory farming, or prison blocks, and the ever-changing light and noise suggest distress, chaos, or mayhem."

我很記得參觀這個藝術品時，真的想到自己生活的屋村。每家、每戶，好像是一個個牢，我們就在這些斗室裡成長。我聽到的煩擾聲音，看作是每家人的吵架聲。那刻，我在想，何解我從前的家，總是吵架，總是很多令人不安的聲音？我想起自己的從前的家，有些傷感，有些掛念。

爸爸的離開，使得我們家生活艱難，相信很多朋友也罵他是衰男人。但每當我想起他對過我的好，他對我真切的好時，我每次也呆了起來，更會泛起淚光。如果我當年早一點長大，或者情況會變得更好一些。我心裡知道，媽媽對他是又愛又恨，我也何嘗不是呢？但這句說話，很難跟媽媽說出口。

這一刻，很想家。
再次想有返回香港的衝動。

P.S.
由於整日的參觀，著實有太多太多的感受與衝擊，實在不能在這裡一一寫出來。(或者要給予我多一些時間吧)。所以，我特別選擇了其中一個該館的主題跟大家分 享。再從主題內的藝術品，選擇三件給大家分享。然而，我要強調這三件藝術品，並不是我最喜歡的。因為，這個「最」是很難評估出來，我看到的是各有各的好， 各有各的美。