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刚开幕的威尼斯双年展军械库展区的尽头,每天下午两点到六点,船坞回荡着悠扬的哀歌让路人驻足,一艘帆船载着六位管乐演奏家在内港出发和返航,乐手们重复着冰岛作曲家基亚兰·斯韦恩森的音乐。艺术家郎纳·基亚尔坦松的这件作品让人联想起《神曲》中但丁和维吉尔在船夫卡戎的带领下共渡冥河一幕,但别担心,双年展不是地狱之门,在威尼斯,每个人都能找到他(她)的天堂。行为艺术虚构了一种自身的因果逻辑。1974年博伊斯在纽约Rene Block Gallery画廊中与狼共处三天,制造了不存在的空间、不存在的关系。行为艺术向观者提出了问题,甚至挑衅,揭示了一种集体的紧张感,给虚构的时间赋予了现实的存在。
The opening of the Venice Biennale armory at the end of the exhibition, every day from two to six o’clock, the dock echoed melodious passers-by passers-by stop, a sailing boat carrying six musicians starting and returning in the inner harbor, music The hand repeats the music of Icelandic composer Kiran Swainsen. The work of the artist Langa Chiartansson is reminiscent of the Divine Comedy, in which Dante and Virgil co-routed the Styx under the leadership of the Chancellor Charon, but do not worry that the Biennale is not the door to hell, In Venice, everyone can find his or her paradise. Performance art fictionalizes its own causal logic. Boyce spent three days living with wolves at the Rene Block Gallery Gallery in New York in 1974, creating a nonexistent space that does not exist. Performance art poses questions to the viewer, even provocations, revealing a collective sense of tension and giving the fictional time a realistic existence.