Humanity｜Art ｜issue 141
The Exhibition "anderswar", Kunsthaus Pasquart, Switzerland
瑞士｜藝術屋帕斯夸特展覽－別處
[ RITZWIRTH ]
主辦單位：瑞士藝術屋帕斯夸特, 瑞士比爾/比恩
策展人：菲麗西蒂．倫恩
參與藝術家：RITZWIRTH．卡蒂亞．麗茲 弗洛里安．豪斯沃思
專案助理：杰拉爾丁．海勒
展覽地點：瑞士藝術屋帕斯夸特
影像：Dominique Uldry．RITZWIRTH
採訪：劉湘怡
文字：菲麗西蒂．倫 維多利亞．伊斯頓
Organizers：Kunsthaus Pasquart, Biel/Bienne, Switzerland
Curator：Felicity Lunn
Principal Artists：RITZWIRTH．Katia Ritz．Florian Hauswirth
Project Assistant：Géraldine Heller
Exhibition Location：Kunsthaus Pasquart, Biel/Bienne, Switzerland
Photos：Dominique Uldry．RITZWIRTH
Interview：Rowena Liu
Text：Felicity Lunn．Victoria Easton
Already known for architectural commissions and interventions in public spaces, RITZWIRTH contextualize the surroundings and architectural characteristics of Kunsthaus Pasquart in order to transform them. With concrete casts that they make in public open spaces in the city, the transience of such places is focused on as a stimulus for joint, forward-looking planning. The furniture made of red and white construction barrier panels transports the urban space – also through Biel's coat of arms colours – into the Kunsthaus. In the Salle Poma, the hermetic structure and cool aesthetics of the White Cube are broken up with a new monumental installation. While three periscopes function like optical conduits to the outside, channels are parasitically attached to the building, allowing a view to the outside and partly also vice versa into the building. RITZWIRTH's previous experimentation with the different scales of objects, buildings and cities is radically expanded here: they transfer the prototype of an object onto a building and into the city. Periscopes penetrate the space's outer skin, grasp the surrounding context, and contaminate space with a consciously suppressed external presence. The flawless architecture, from which all traces of prosaic technical installations have been erased, is provoked by the aesthetic of the object. In the Poma Hall, floor, walls and ceiling meld in a palette of grey tones and into which six abstract slits (without seams or edges) allow us to distinguish "up" from "down". Three pipes protrude from these openings and thus disturb the silent volume. The projecting character of the periscope object is intrinsic to it and thus presented as an artifice.
RITZWIRTH以公共空間的建築委託和改造聞名，本展將周遭環境和建築特徵融入藝術屋帕斯夸特（Kunsthaus Pasquart）的改造中，他們在城市開放的公共空間製作混凝土鑄造品，因為這些地方的短暫過渡性，較適合使用為刺激性高與前瞻性規畫的聯合活動；由紅白工程路障板製成的家具，將城市元素－同時也是比爾徽章（Biel's coat of arms）的顏色－帶入藝術屋；在波馬廳（Salle Poma），白立方的氣密結構和酷炫美學重現為新的紀念性裝置藝術。 三個潛望鏡的功能類似通向外部的光學管道，寄生似地附著在建築物上，可從管道看到外部，反之亦然；RITZWIRTH之前對不同規模的物體、建築物和城市的實驗在這裡得到了徹底的擴展：他們將物體的原型實踐到建築物上與城市中。潛望鏡穿透該空間的外層，緊扣住外圍環境，有意識地抑制外部存在感來破壞空間；完美無瑕的建築，其中所有乏味的科技裝置都被抹去，單純由物體的美學激發；在波馬廳（Poma Hall），地板、牆壁和天花板融合在灰色調中，並有六個抽象的狹縫（沒有接縫或邊緣），讓我們能區分“上”“下”，三根管子從這些開口伸出，從而擾亂了無聲的寧靜，潛望鏡本質會突出的特徵被刻意呈現出來。
