“误导”（Disorient）场景一
昨日，09威尼斯双年展荷兰国家馆开幕，蒙德里安艺术基金会 （Mondriaan Foundation）委员莎士琪雅•伯丝（Saskia Bos）女士，以及代表荷兰参展艺术家Fiona Tan同其他许多来自荷兰、加大拿、美国、意大利等国的艺术家、画廊总监、策展人参加了开幕式庆祝活动。
自现在直至11月22日，荷兰馆将展示Fiona Tan的三件视频装置。两件完成于08年的装置“上升，下降”（"Rise and Fall "）和“来源”（ "Provenance"）将被置于荷兰馆的门前区域，而荷兰馆入口的名字来自于装置“误导”（ "Disorient"），这一装置是这三个装置中的集大成者。
an attentive audience watching 'rise and fall'
荷兰馆策展人saskia bos
'disorient' projected
“误导”（Disorient）场景二
Fiona Tan的作品曾在第十一届卡塞尔文件节、横滨三年展、泰特现代以及纽约新博物馆中展出过。“误导”是她的最新作品，她于其中运用了意大利女作家伊塔洛•卡尔维诺（Italo Calvino）的原文，这段文字讲述的是与当时仍是世界战略中心的威尼斯的当代邂逅。
这一作品的在开头将马可波罗七百年前的描写同现在的影像相结合，对马可波罗游记的引述是唯一的画外音。Tan将13世纪的商业重镇同爱德华•赛义（Edward Said）的东方文化概念相结合：西方的无力真正的面对东方的本质。她所指的不仅是百年来西方世界对东方形象的片面臆造，也强调西方应当发现更多东方的不同面。她说道：“人们缺乏对于其他文化和社会的了解，也不愿意参与和向其他习俗、宗教学习，如今的情况正同七百年前一样的可悲。那些旧的东西，即使是被歪曲了，也仍能给予新的东西以意想不到的有价值的见解。那些力量强大的国家常以维护世界和平的名义反对其他国家和人民，这可以说是一种在新面具伪装下的殖民侵略。甚至在我们这个时代，正义、常识以及怜悯心常常要给贸易和经济利益让路。(...)我常常努力去想像一个超越了东西方分界甚至对峙的未来。因而我选择了这个已经遗失、并且改动很大的历史材料来开始我的当代艺术新作。无论是字面意义还是比喻意义，威尼斯都是我的起点和回归点。”
而此次威尼斯双年展荷兰展的总策划人是艺术历史学家莎士琪雅•伯丝（Saskia Bos）女士，她曾是阿姆斯特丹De Appel基金会艺术及管理总监，自05年起担任纽约库珀艺术联盟主任。她也曾担任第三届雕塑双年展艺术及管理总监（2003年），第二届柏林双年展艺术及管理总监（2001年），以及第二届圣保罗双年展荷兰展总策划人（1998年）。自从1995年起，威尼斯双年展荷兰展的总策划人一直由阿姆斯特丹蒙德里安艺术基金会任命。
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'provenance', 2008
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'rise and fall'
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（来源：Artdaily网站，点击参看原文）
【编辑：Julia】
Art Viewers Taken On A Journey - From Venice's Past to Asia's Contemporary Reality
VENICE.- The Mondriaan Foundation, commissioner Saskia Bos as well as Fiona Tan, the artist representing the Netherlands at this year's Venice Biennale, celebrated the opening of the Dutch pavilion on Thursday June 4 with numerous international artists, gallery directors and curators from e.g. the Netherlands, Canada, the USA or Italy.
From now on until November 22, 2009 the Dutch pavilion will show three video-installations by Fiona Tan. "Rise and Fall " and "Provenance", both from 2008, are shown in the front area of the Dutch pavilion and the exhibition culminates in the audio-visual installation that gave the Dutch entry its name: "Disorient".
For her latest piece, Fiona Tan (*1966), whose works have also been shown at the documenta 11 at Kassel, the Yokohama Triennale in Japan, the London Tate Modern or the New York New Museum, used Italo Calvino's original text for a contemporary encounter with the age in which Venice was a strategic centre of the world. The starting point of this new work was to confront Marco Polo's seven-centuries-old descriptions with images of the present, partly taken from film archives, partly filmed by the artist herself. The voice-over in the installation consists solely of quotes from "The Travels" of Marco Polo. Tan connects the 13th-century mercantile power of Venice to Edward Said's concept of Orientalism: the inability of 'the West' to truly come to grips with the essence of 'the East'. She not only refers to a centuries-old tradition in the West of creating unilateral images of the East, but also emphasises that the West needs to find new bearings. Tan: 'The lack of comprehension of other cultures and societies, the reluctance to engage with and to learn about other customs and other religions is just as pertinent and tragic today as it was seven hundred years ago. The old, even if distorted and skewed, can give unexpected, worthwhile insights into the current and new. The violence of powerful nation states against other countries and peoples in the name of global peace can arguably be called colonial aggression in a new disguise. Even in our times trade and pursuit of economic gain is repeatedly given precedence over justice, common sense and human compassion. (...) I am straining to see and imagine the future beyond the restrictive dichotomy of East and West (one which always implies East versus West). And thus a lost and much altered historical document more than 700 years old is my starting point for a new and contemporary artwork. Venice is - literally and figuratively speaking - my point of departure and return, and this merchant of Venice is my unlikely guide.'
The commissioner of the Dutch presentation in Venice is the art historian Saskia Bos. The former Artistic and Managing Director of De Appel Foundation, Amsterdam, has been Dean of the School of Art of the Cooper Union, New York, since October 2005. She was the Artistic and Managing Director of the 3rd Sculpture Biennale Münsterland (2003) as well as the 2nd Berlin Biennale (2001) and the commissioner of the Dutch entry to the S?o Paulo Biennale (1998). Since 1995 the commissioner is appointed by the Mondriaan Foundation, Amsterdam, that is responsible for the Dutch entries to the Venice Biennale.
（来源：Artdaily网站，点击参看译文）
【编辑：Julia】
