比爾伍德羅 - 《遠(yuǎn)道來(lái)的信息》

Bill Woodrow

Long Distance Information

1983

Metal and mixed media

184 x 190 cm

比爾.伍德羅

遠(yuǎn)道來(lái)的信息，1983

金屬和混合媒體

184 x 190cm

比爾?伍德羅的雕塑開(kāi)始表現(xiàn)變形技藝，把日常物品轉(zhuǎn)換為新穎和具有高度創(chuàng)造性的作品。伍德羅與“新雕塑”主題下作品沒(méi)有多大聯(lián)系的其他藝術(shù)家（其中包括理查德?迪肯和托尼?卡拉格）一起，擺脫了20世紀(jì)70年代多數(shù)概念作品樸素和較少抽象的特征。里森畫(huà)廊將成為他們著手釋放華麗的表演場(chǎng)地，按理查德?科克的話說(shuō)，這種華麗是“醉心于嫻熟的技能表現(xiàn)、異常的繁盛和大膽的幽默”，同時(shí)又“足夠地喧鬧，在年輕的藝術(shù)家中渲染了更多的情緒。”在找到自由探索各種現(xiàn)有物品和材料代表性品質(zhì)的同時(shí)，他們的作品又有一種機(jī)智、娛樂(lè)和想象感，直面當(dāng)代社會(huì)中令人不舒服的某些方面。

1981年，伍德羅展出了由一對(duì)黑傘構(gòu)成的作品《烏鴉與腐肉》（Crow and Carrion）(1981年)。第一把傘破爛而褶皺，一塊兒傘布割出了一只胳膊的形狀,因此它看起來(lái)分成兩個(gè)維度，基本上就像是個(gè)影子。第二把傘給改成了落在裸露傘架上一只烏鴉。《烏鴉與腐肉》展示了伍德羅經(jīng)常在其作品中建立的受害者與侵犯者之間的相互關(guān)系。傘也強(qiáng)調(diào)了超現(xiàn)實(shí)主義的傳統(tǒng)，以及弗洛伊德有關(guān)離奇和熟悉的去熟悉化觀點(diǎn)。然而，伍德羅的雕塑利用受到不景氣、裁員、憤怒和荒廢影響的國(guó)家殘留物，牢牢地根植于現(xiàn)在——所有的主題都與今天相關(guān)。

《長(zhǎng)途信息》同《烏鴉與腐肉》一樣，也在今天提出了與當(dāng)初創(chuàng)造時(shí)相關(guān)的問(wèn)題。我們可以看到，一個(gè)車蓋被切割，制作出一副對(duì)講機(jī)，一個(gè)長(zhǎng)焦相機(jī)和一顆子彈，制造出恐怖和監(jiān)視的氛圍，這或許是受到1982年馬島戰(zhàn)爭(zhēng)（Falklands War）以及英國(guó)國(guó)內(nèi)媒體大肆宣傳的影響。從今天看來(lái)，車蓋的黃色增添了一種新的含義：阿富汗和伊拉克沙漠。它就像用戶至上主義后方的壕溝藝術(shù)。盡管如此，這部作品決沒(méi)有爭(zhēng)議性- 它能激發(fā)想象，帶有異常叛逆的精神，能喚醒古老、厭倦和被拋棄的東西，重新為其注入熱情和幽默。車蓋變成了臨時(shí)用的帆布，帆布粗糙的切口幾乎刻畫(huà)出了用于住房建筑計(jì)劃的平面圖。伍德羅自己說(shuō)，這部作品受到“田納西州孟菲斯”（1958年）中查克?貝里(Chunk Berry)極力要與人溝通的啟發(fā)：

長(zhǎng)途信息，給予我田納西州孟菲斯

幫助我找到試圖與我聯(lián)系的一方

她可能不會(huì)留下她的號(hào)碼，但是我知道是誰(shuí)打的電話

因?yàn)槲业氖迨辶粝铝诵畔ⅲ阉鼘?xiě)在了墻上

Bill Woodrow

The sculptures of Bill Woodrow set about enacting feats of metamorphosis, turning everyday objects into new and highly inventive creations. Woodrow, together with othe artists whose work came to be loosely associated under the title ‘The New Sculpture’ (among them Richard Deacon and Tony Cragg), broke away from the austerity and reductive abstraction that characterised much of the conceptual work of the 1970s. The Lisson Gallery was to become a staging ground whereupon they could set about unleashing a flamboyance that was, in the words of Richard Cork, ‘revelling in showmanship, exotic flourishes and outrageous humour’, and at the same time ‘boisterous enough to inaugurate an expansive new mood among young practitioners’. Discovering a freedom to explore the representational qualities of various found objects and materials, their work had a sense of wit, play and imagination that held itself up directly to certain aspects of contemporary malaise within society.

In 1981, Woodrow showed the work Crow and Carrion (1981) , comprising a pair of black umbrellas. The first is broken and crumpled, with a section of its fabric cut out in the shape of an arm, so that it appears in two dimensions, almost like a shadow. The second umbrella has been fashioned into a crow, which is pecking at the exposed limb. Crow and Carrion exhibits the interplay between victim and aggressor that Woodrow frequently establishes in his works. The umbrellas also highlight the legacy of Surrealism, and Freud’s ideas on the uncanny and the de-familiarisation of the familiar. Woodrow’s sculpture is, however, firmly rooted in the present, utilising the spat-out remnants of a country in the grip of recession, redundancy, anger and waste – all themes pertinent today.

Long Distance Information, like Crow and Carrion, also raises questions that are as relevant now as they were when first made. We can see that a car bonnet has been cut out to create a pair of walkie-talkies, a long-lens camera and a bullet, evoking a climate of fear and surveillance, perhaps exacerbated by the Falklands War of 1982 and its long-range portrayal by the media back in the UK. Seen from the present day, the yellow of the bonnet adds a new connotation: the deserts of Afghanistan and Iraq. It is like trench art on the home front of consumerism. Nonetheless, this work is by no means polemical – it is imaginative, with a spirit of deviant inversion, resuscitating the old, tired and discarded, and injecting it with a new zest and humour. The bonnet forms a makeshift canvas, whose coarse incisions could almost be hacked-out plans for a Bauhaus housing scheme. Woodrow himself has said that this work was inspired by the Chuck Berry hit about striving for communication, ‘Memphis Tennessee’ (1958):

Long distance information, give me Memphis Tennessee

Help me find the party trying to get in touch with me

She could not leave her number, but I know who placed the call

’Cause my uncle took the message and he wrote it on the wall