反射被放大成景观和观众之间的万花筒游戏。
通过所有这些镜子来观察风景，用不同的距离，不同的视角，不同的角度，不同的亮度。我使用的后视镜既是一种反射材料，也是一种更具象征意义的东西。这是一个神话游戏，每个观众都可以从后面，前面和很远观看。我想到了一个像图腾的垂直形式，靠近公园的树。它需要存在于风景中，也需要通过反射消失。我的工作总是质疑我们与进步和时间的关系。这对自然有明显的影响。每一个后视镜看起来都像一个贝壳，所有的组合都是非常有机的，就像粘在岩石上的贻贝。
——法比安
无论我去到哪方| 法比安
眉山乡野艺术节参展艺术家访谈之九：
法比安
《无论我去到哪方》
雕塑
2018
玻璃、塑料、金属等
高2.5米-3米，尺寸可变
▼
关于作品：
作为一名艺术家、策展人和老师，法比安·维隆从不同角度思考艺术。他的方法来自与艺术无关的个人事件，使他反思有关时间和美学之反复出现的问题，并继而通过探索具有弹性和象征意义的关系。法比安对事物的折射转变特别感兴趣，因为它从审美、诗意或哲学的角度揭示了非常广义的问题。
诗意始于敏感的观察，是对世界的沉思。远离城市的空间是一个思考和反思的理想场所。《无论我去到哪方》是对开放，发现和多元文化主义的赞美诗。每个图腾都成为一个无法修复的世界的斧头，接收一个扭曲的现实，并迫使观众采用一种新的方式来观察围绕着我们的世界。像寺庙一样，作品占据了万花筒般的游戏中的空间。每位参观者都可以在不同距离的许多地方漫步并在景观中看到自己。因此，有一种神话般的时间效应，镜子允许在前面，后面，远处，从一个臆造的过去和未来中看到现在所发出的光之刺痛。
Fabien Villon works as an artist, curator and teacher. It’s a way of thinking art from different angles and working for the same purpose, transmission. His approach comes from personal events that have nothing to do with art. These circumstances led him to reflect on recurring questions about tem- porality and aesthetics, sometimes left over materials by exploring a relationship that is both elastic and symbolic.
Poetry begins with a sensitive observation, a contemplation of the world. A space far-off the city is an ideal setting to contemplate and reflect. Wherever I may roam is a hymn to openness, discovery and multiculturalism. Each totem becomes an axe of a world that can not be fixed, it receives and returns a distorted reality and obliges the viewer to a new way of apprehending which surrounds us. Like the bases of a temple, the artwork occupies the space in a kaleidoscopic game. Each visitor can experiment walking around and seeing himself in the landscape in many parts with different distances. There is therefore a mythological play of timelessness, mirrors allowing to see in front, behind, far away, in an invented past and a future to be imagined through the luminous tingles of the present.
眉山乡野艺术节现场：
以下为眉山乡野艺术节策展团队与法比安之间的对话：
问：眉山乡野艺术节策展团队
答：艺术家法比安
问：近些年来中国越来越多的艺术节或双年展走向了城郊甚至乡野，在国外也不乏这样的案例，你如何看待这样一种现象？
答：当代艺术文化自诞生之日起就是城市的。 在其他地方展出之前，你首先需要在城市中得到认可。尤其是在国际化的城市里，总会有更多的机会去接触专业人士、策展人、收藏家、评论家……有很多原因可以解释为什么人们对把艺术节和双年展搬到郊区或农村地区感兴趣。我认为第一个原因是经济上的，城市中心的租金上涨了很多导致文化活动很难有大的空间。此外，还有把文化带给所有人政治因素。在大多数情况下，经济和政治都与宣传和促进新领域联系在一起。我们可以希望，与自然共存的必要性也与此相关。
问：眉山乡野艺术节主题设定为“诗意的所在”，希望艺术家在一个理想化的园区按其对自然与大地的理解延伸对于艺术的认知，你如何看待这一主题？
答：我认为艺术总是与自然联系在一起的。创造的行为总是自然的。灵感往往伴随着观察和感受。许多艺术家仍然把自然作为来理解我们生活的世界的一门学科或一种工具。对我来说，为眉山乡野艺术节创作一件作品，是一种在自然环境和我的创作之间找到和谐的机会。在这里我做了一些不同于博物馆的实验。这个人工花园是一个美丽的案例，它提供了其他的可能性和对空间的其他感知。这有点像回到最初的意义，我能感觉到一种永恒的状态，仍然能听到大自然所有的声音。
问：你为此次展览创作了怎样的作品？表达了什么意涵？具体又是如何安排作品与环境的关系以及对于主题的传达的？
答：我创作了一件新的作品叫做«无论我去到哪方»，是三个一组的由钢结构和汽车、卡车和摩托车的后视镜制作的雕塑。这个想法是通过所有这些镜子来观察风景，用不同的距离，不同的视角，不同的角度，不同的亮度。我使用的后视镜既是一种反射材料，也是一种更具象征意义的东西。这是一个神话游戏，每个观众都可以从后面，前面和很远观看。我想到了一个像图腾的垂直形式，靠近公园的树。它需要存在于风景中，也需要通过反射消失。我的工作总是质疑我们与进步和时间的关系。这对自然有明显的影响。每一个后视镜看起来都像一个贝壳，所有的组合都是非常有机的，就像粘在岩石上的贻贝。
视频截图：
问：本次展览的作品和以前的创作思考有什么关系？
答：这个新作品与以前用后视镜和许多车祸产生的二手废品制作的雕塑有一定的联系。我做了比平常更大的雕塑，把它设置成靠近树木的一个小树林。更好的是，反射被放大成景观和观众之间的万花筒游戏。
问：大地艺术是二战后出现于欧美的艺术潮流，你觉得我们重新提出这一说法有什么意义？换而言之，就是“大地艺术”在当下有何新的意义？
答：这是个好问题，大地艺术一直很难被定义。对我来说，它仍然与70年代的艺术运动紧密相连，也就是说，用自然材料和自然环境创作的艺术品。也许“大地艺术”是一个合适的术语，或者我们甚至不需要它，因为看到艺术家在大自然中工作是正常的。这一直以某种方式存在，只是在今天与自然共处的问题是变成了一个主要问题。
问：此次艺术节所在地是坐落于四川眉山的“中法农业科技园”，你如何思考大地艺术在此跨文化语境中的关系以及在地性问题？
答：与城市的距离是一种探索各种主张和观点的自由。作为一个外国人，中国的城市对我来说太大了，我很难理解我在哪里。成都是一个很好的城市，但它大得出奇，高楼大厦一直延伸到无限远。中法农业科技园的选址给人以耳目一新的感觉。这是创造跨文化交流的完美场所。同时，向当地的居民推荐高雅文化的同时考虑其在地性是一件好事。
问：你对本次艺术节有怎样的期待？
答：我希望将来会有其他拥有不同主张的版本。这个艺术节展示了多位来自中国和法国艺术家,但也许将来还其他国家的艺术家，毕竟我们很多人都是在各处旅行。我希望这个艺术节将来还不限制艺术家只使用天然材料,也可能扩展到不同的领域,甚至视频或表演。这是一个让艺术在乡村得到如此关注的机会，它需要进一步发展。
Interview with the artists of the First MeiShan Land Art Festival
Q: In recent years, more and more art festivals or biennials in China have gone to suburbs and even rural areas. There are also many cases in foreign countries. How do you view such a phenomenon?
Since its birth, Contemporary art culture is urban. You need first to be recognized in the city before exhibiting elsewhere. When the city is International, it’s always more opportunities to get, meeting professionals, curators, collectors, critics… There are many reasons that could explain this interest for art festivals and biennals to move to suburbs or rural areas. I think that the first reason is economic, rents have increased so much in the city centers than big spaces are very hard to get for cultural events. Then there is a political aspect to bring culture to everyone. In most cases, both economic and politic are linked to promote and to boost new areas. We could hope that there is also a relevant stake about the necessity to live with nature.
Q: The theme of the First Tianfu Land Art Festival was set as “Poetic Ubiety”, hoping that the artist will extend his acknowledgement of art basing on his understanding of nature and the earth in this idealized park. How do you view this theme?
I think that art is always connected with nature. The act of creating is always natural. Inspiration often comes with observation and feelings. Many artists still use nature as a subject or a tool to understand the world we live in. For me, creating a work for the Tianfu Land art festival was an opportunity to find a harmony between my artistic approach and this natural environment. I’ve experimented something very different than a museum. It looks like that this artificial garden is a beautiful case and gives other possibilities, other perception of the space. It’s a bit like going back to an original meaning, I can feel a timeless state and still hear all the living sounds of nature.
Q: What kind of work did you created for this exhibition? What idea does it express? Specifically, how did you arrange the relationship between the work and the environment, and the communication of the theme?
I’ve created a new work called « wherever I may roam », a set of 3 sculptures made with steel structures and a cluster of rearview mirrors from cars, trucks and motorbikes. The idea is to look at the landscapes through all of these mirrors, with different distances, point of views, angles, brightness. I use rear-views both as a reflecting material and something more symbolic. It’s a mythological game in which each viewer can see back, in front of and far away. I’ve thought about a vertical form like totems, close to the trees of the park. It needed to exist in the landscape and disappear as well by reflecting it. My work is always questioning our relationship to progress and time passing. It has of course obvious consequences on nature. Each rearview look like a shell, all of the assemblage is very organic, like mussels agglutinated on a rock.
Q: What does the work created for this exhibition have to do with your previous creations and thoughts?
This new work is linked to previous sculptures made with rearview mirrors and many second hand wastes from car crash. I’ve thought about bigger sculptures than usual and setting it like a grove, close to some trees. It’s even better, reflects are multiplied into a kaleidoscopic play between the landscape and the viewer.
艺术家和策展人现场合影：
座谈会发言:
与策展人合影：
Q: Land art is an art trend that emerged in Europe and the United States after World War II. How do you think of the significance of revoking this statement? In other words, what is the new meaning of “earth art” nowadays?
That’s a good question, it’s always difficult to define Land art. For me it’s still very connected to this movement from the 70’s, that is to say artworks with natural materials and in an natural environment. Maybe « earth art » would be an appropriate term or maybe we even don’t need one as it should be normal to see an artist working in the nature. This has always existed in a way but today the question of inhabiting with nature is a major one.
Q: The location of the festival is located in the Sino-French Agricultural Science and Technology Park in Pengshan District in Meishan City, Chengdu, Sichuan. How do you think about the relationship between land art in this cross-cultural context and the issue locality?
The distance from the city is a freedom to explore various propositions and point of views. As a foreigner, cities of China are so huge to me that it’s very hard to understand where I am. Chengdu is a great city but inordinately big with high buildings and skyscrapers that expand to the infinite. The location of the Sino-French Agricultural Science and Technology Park is a breath of fresh air. This is the perfect place to create cross-cultural exchanges. Also, it’s always good to think local and propose high culture to the living people of the area.
Q: What are your expectations for this Land Festival?
I hope that there will be other editions with always very various propositions. The force of this festival will be to showcase a diversity of artists from China and France but maybe also other countries as many of us are traveling a lot. I wish that the festival still won’t limit artists only to natural materials but could also extend to different fields, even video or performances. This is a chance to get such a focus into art in the countryside and it needs to grow even more.
其他作品：
Wild horse, 2010
112 x 252 x 62 cm
Crashed motorbike, steel
关于艺术家
法比安·维隆（法国）
Fabien Villon （France）
法比安生于法国，现居于里昂。2006年毕业于法国巴黎高等装饰艺术学院。现为自由艺术家、策展人。作品曾多次参加国际性展览，包括美国、加拿大、法国、德国、英国和意大利。他是法国“内部与收藏艺术空间”的发起人和艺术总监，策划多次艺术展览。也曾参加里昂双年展。法比安关注物质的转变和物件的折射，因为它从审美，诗意或哲学的角度揭示了非常广泛的问题。创作过程是他工作中的核心问题。它让法比安质疑人类与进步、技术和自然的关系。
除署名外，图文由眉山乡野艺术节提供。
诗意的所在
眉山乡野艺术节
展览时间：
- 2018年9月29日-2019年1月5日
展出地点：
- 中国四川省眉山市天府新区中法农业科技园形象示范区
策展人：
- 杨小彦、克里斯特尔·蒙图里(法国)、胡斌、龙邃洋
艺术家：
- 朱利安·德·卡萨比安卡（法）、菲利普·科林（法）、傅中望、顾雄（加）、混合小组、焦兴涛、林景山（加）、刘建华、石头先生（法）、法比安·维隆（法）、王义明、史金淞、曾曦
眉山乡野艺术节已于2018年9月29日在中国四川省成都市近郊的眉山华侨城中法农业科技园开幕。中法农业科技园位于四川省眉山市天府新区，坐拥锦江，背靠彭祖山，面朝黄龙溪古镇，文脉深远，历史绵长。眉山乡野艺术节是在巴蜀地区举办的首个大型国际性以大地作为载体的艺术节，主办方希望通过参与艺术家批判性思考的方式让艺术与自然环境互为作用，并通过大地艺术的形式让民众更深入地关注和反思环境生态议题。艺术节依循城市山水主义，根据园区的氛围呈现，通过艺术家的作品去构筑生活的写意与和谐。自开展以来，人流如织，深受大众喜爱。展期至2019年1月5日。
