▎Follow with Eliasson in creating your own light and shadow, color, time, and space in Palazzo Strozzi ▎
「這座非凡的文藝復興時期建築歷經數個世紀後仍然使我們敬佩，21世紀的今天，就讓我們不僅僅是作為參觀訪客，而是成為這檔展覽的聯合製作人 。」
“This extraordinary renaissance building has traveled through the centuries to great us here, now, in the twenty-first century – not as a mere host for art but as a co-producer of the exhibitions..”
— 奧拉佛・艾里亞森 Olafur Eliasson
一場展覽最需要的是觀展者的實際參與，伴隨著不同形式的反饋，以構成印象深刻的美學體驗。
What an exhibition needs most is the actual participation of the audience, along with different forms of feedback, to form an impressive aesthetic experience.
當科學遇見藝術美學，可想見是場無法被中止的對話，也無需被論證或剖析，因為它們的結合將會沿生出超乎想像的美妙產物。神秘的漩渦正緩步得透過藝術家縝密的計畫，逐一被巧妙創造出形體並實證在你的眼前。
When science meets artistic aesthetics, it is conceivable that it could become a dialogue that cannot be stopped, nor needs to be demonstrated or dissected, because their combination will produce wonderful products beyond imagination. The mysterious vortex is slowly moving through the artist’s meticulous plan, one by one, being cleverly created and verified in front of your eyes.
冰島丹麥裔藝術家｜奧拉佛・艾里亞森Olafur Eliasson，首次在義大利最大個展就選在佛羅倫斯當代藝術博物館-斯特羅齊宮Palazzo Strozzi舉辦，以雕塑和大型裝置藝術創造沈浸式體驗與空間聞名全世界，從千禧年代發跡至今在各國知名博物館皆可以看到他的展覽足跡，Netflix上熱門紀錄片《Abstract: The Art of Design》第二季第一集更是專門介紹這位「光之魔術師」。
Icelandic Danish-born artist | Olafur Eliasson, whose largest solo exhibition in Italy for the first time was held at the Palazzo Strozzi one of the important contemporary art museums in Florence, is famous for his sculpture and large-scale installation art creation immersion experience and space, and his footprints can be seen in well-known museums around the world since the millennium. Also, the first episode of the second season of the popular documentary “Abstract: The Art of Design” on Netflix is dedicated to this “Magician of Light”.
跨度於光線、形狀、色彩、時間與空間之間，Olafur Eliasson試圖將自然的元素貫穿於展覽場域，重新組構現在與過去的樣貌。
Spanning between light, shape, color, time, and space, Olafur Eliasson attempts to reconstruct the present and the past by weaving natural elements throughout the exhibition landscape.
藉由標題「在你的時間裡」(Nel tuo tempo) 可以很直接地理解到整個展覽是以「觀眾」作為核心，建立觀眾與裝置之間的對話，促使其成為作品的一部份。打破博物館/美術館與觀眾之間的規範與界限，一直是藝術家Eliasson創作歷程中主要的研究導向之一；不再以博物館為導向，不過度解釋說明作品，為其建立一個既定的思考方向，而是聚焦於觀眾本身，打造一種身歷其境的體驗裝置，豐富觀者的所有視覺感官。
Through the title of the exhibition “In your time” (Nel tuo tempo), we could directly understand that the entire exhibition is centered on the “audience”, establishing a dialogue between the audience and the installation, and promoting it to become part of the work. Breaking the norms and boundaries between museums and audiences has always been one of the main research directions in artist Eliasson’s creative process; no longer museum-oriented, not overly interpreting the works, but creating a predetermined thinking direction for it. Instead, focusing on the audience itself creates an immersive experience device that enriches all the visual senses of the viewer.
走進16世紀，歷史的迴廊，映入眼簾漂浮在空中的巨大橢圓形漩渦，模擬著海浪波紋的運動型態，形似被具象化的聲波，正隨著你游移的腳步，更替著它穿越光線到達你瞳孔的樣貌。
Walking into the 16th century, the historical corridor comes into the huge oval vortex floating in the air, simulating the movement of ocean waves, resembling a figurative sound wave, which is following your wandering steps, replacing the appearance of it passing through the light to reach your pupils.
《Under the water》2022
鋼架、 印花紡織品、再生聚丙烯捆紮帶、單頻燈
steel frame, printed textile, recycled polypropylene strapping, monofrequency lights
11x8m
由藝術家提供 courtesy of the artist
進入二樓的主要展場，以往都被包裹起來的窗戶結構，此次刻意被藝術家納入作品當中。光線穿透當時玻璃窗面，過濾窗格間細小的玻璃工藝紋路、氣泡孔洞被包覆進玻璃結構，原本無法被肉眼看見的「時間痕跡」，被套上夕陽般的顏色再次呈現文藝復興那時代下宛如貴族優雅迷幻的姿態。
Entering the main exhibition hall on the second floor, the window structure that is previously wrapped in the past, was deliberately included in the work by the artist this time. The light penetrated the glass window surface at that time, and the fine glass craft patterns between the filter panes, the bubble holes were wrapped into the glass structure, and the “traces of time” that could not be seen by the naked eye were once again covered with sunset-like colors to show the elegant and psychedelic posture of the aristocracy in the renaissance.
《Triple seeing survey》2022
投射燈，壁掛
3 spotlights, wall mounts
尺寸因地制宜 dimensions variable
由藝術家提供 courtesy of the artist
《Tomorrow》2022
投射燈，壁掛，投影布幕，彩色濾光玻璃
3 spotlights, wall mounts, rear-projection screen, color-filter glass
尺寸因地制宜 dimensions variable
由藝術家提供 courtesy of the artist
《Just before now》2022
投射燈，壁掛，鏡面箔，投影布幕，彩色濾光玻璃
3 spotlights, wall mounts, rear-projection screen, color-filter glass
尺寸因地制宜 dimensions variable
由藝術家提供 courtesy of the artist
穿越過投影布幕裝置後，6、7、9、10號房間的作品是整檔展覽最能夠體現自然環境議題的裝置。
其中9號房間帶出藝術家最經典著名的作品《美》，透過水和聚光燈的元素製作出看似簡單的裝置，黑暗的房間，水絲噴霧迴盪著聚焦光線，折射進入觀眾的瞳孔喚醒了「彩虹」；就如同藝術家所說：「這完全是在兩個位置之間來回走動的問題：看見彩虹、沒看見彩虹。看到亦或者沒看到！」 沒有人可以看到同樣的彩虹形成，走進水霧中成為美的一部份。
After passing through the projection screen installation, the works in rooms 6, 7, 9, and 10 are the installations that best reflect the natural environment issues in the entire exhibition.
Among them, Room 9 brings out the artist’s most classic and famous work “Beauty”. Through the elements of water and spotlights, a seemingly simple installation is created. In the dark room, the water spray reverberates with the focused light, which is refracted into the pupils of the audience and awakens ” Rainbow”; as the artist puts it: “it is a matter of fluctuating back and forth between two positions: seeing the rainbow, not seeing the rainbow, seeing and not seeing.” No one can see the same rainbow formation, walking into the mist of water and becoming part of beauty.
《Beauty》1993
聚光燈、水、噴嘴、木頭、軟管、幫浦
spotlight, water, nozzles, wood, hose, pump
尺寸因地制宜 dimensions variable
由藝術家提供 courtesy of the artist
「藝術的本質本源於日常，科學與自然兩者之間密不可分的關係，在許多領域中都展現出它們相輔相成的角色，同時仍存在無法解釋論證的現象。」
The essence of art originates from everyday life, and inextricable relationship between science and nature has shown their complementary roles in many fields, while there are still phenomena that cannot be explained and demonstrated.
人為的燈光裝置與各種介質：色彩、水氣、空間、鏡面，隨著室外日光的進程、周圍環境的變化影響著每個人的參與體驗，完全投入於裝置情境之中，產生視角與時間點的對話結構。
Artificial lighting installations and various media: color, water vapor, space, mirrors, with the progress of outdoor daylight, changes in the surrounding environment affect everyone’s participation experience, fully immersed in the installation situation, resulting in a dialogue structure between perspective and time points.
《Firefly double-polyhedron sphere experiment 》2020
不銹鋼、彩色濾光玻璃、玻璃鏡面LED燈、電機、油漆
stainless steel, collour-effect filter glass, gllass mirror LED light,motor , paint
170cm
由藝術家提供 courtesy of the artist
《Colour spectrum kaleidoscopo》2003
不銹鋼、彩色濾光玻璃、玻璃鏡面LED燈、電機、油漆
colour-effect filter glass, stainless steel
180*75*200 cm
私人收藏 Private collection
我們對於藝術創作的理解，取決於個體本身的知識含量、生活體驗之間的發酵，面對當代藝術時，大多數的觀眾都過度依賴閱讀創作簡介，作品論述說明、導覽器的存在，不可否認在概念藝術領域裡，完整地剖析理解藝術創作的動機與理念是核心；然而，觀者與作品之間的連結，觀展體驗的過程，歷經消費內省後的產物，它可以是影像、可以是口述反饋、可以是內在的經驗連結，亦或者是與同行夥伴當下的記憶畫面。
Our understanding of artistic creation depends on the knowledge content of the individual and the fermentation between life experiences. When facing contemporary art, most audiences are overly relying on reading the introduction, the existence of audio-guide, it is undeniable that in the field of conceptual art, a complete analysis and understanding of the motives and ideas of artistic creation is the core; however, the connection between the viewer and the work, that process of viewing experience, is the product of introspection after consumption, which could be video, photo, could be oral feedback, it could be an internal experience connection, or it could be a memory of the moment with companions.
《Olafur Eliasson : Nel tuo tempo》展覽近20件集結歷年重要裝置與2022新作，在斯特羅齊宮基金會的大力協助之下，實踐藝術家對共享體驗與互動裝置的堅持，以不同的展覽型態構思，主要聚焦在觀眾的感官體驗，試圖跨越空間界限和物理限制，將展覽場域打造為一切元素的匯集點。
The “Olafur Eliasson : Nel tuo tempo” exhibition brings together nearly 20 pieces of important installations over the years and news in 2022. With the strong assistance of the Fondazione palazzo strozzi, the practice artist’s insistence on shared experience and interactive installations is displayed in different exhibition types. The concept of state-of-the-art mainly focuses on the sensory experience of the audience, trying to transcend the spatial boundaries and physical limitations, and make the exhibition area a meeting point of all elements.
Olafur Eliasson：Nel Tuo Tempo｜奧拉佛・艾里亞森：在你的時間裡
展覽構思｜Studio Olafur Eliasson
策劃推廣｜Fondazione Palazzo Strozzi 斯特羅齊宮基金會
展期｜2022年9月22日(四) 至2023年1月22日(日)
地點｜Palazzo Strozzi斯特羅齊宮, Firenze
時間｜週一至五10點-晚間8點，週四10點-晚間11點
購票｜全票15歐，優待票12歐（以及其他更多優惠票價，詳情請至官網 https://www.palazzostrozzi.org/en/tickets-opening-hours/ ）
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