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与弗朗索瓦?皮诺共进午餐 Lunch with the FT: Fran?ois Pinault

来源:未知 编辑:admin 时间:2017/06/21

与弗朗索瓦?皮诺共进午餐 Lunch with the FT: Fran?ois Pinault

Venice or Paris? Five years after I first asked him, elusive billionaire art collector Fran?ois Pinault has agreed to meet me for lunch and even offers a choice of location: Venice, where his showcases at Palazzo Grassi and Punta della Dogana form one of Europe’s biggest private displays of contemporary art; or Paris, where his home is a h?tel particulier or grand townhouse in the centre of the city.

是在威尼斯还是在巴黎谈?五年前,捉摸不定的亿万富翁兼艺术品藏家弗朗索瓦?皮诺(Fran?ois Pinault) 首次接受我的采访,这次再次同意与我共进午餐,甚至还提供了会谈地点:威尼斯。在威尼斯的葛拉西宫(Palazzo Grassi)及海关大楼(Punta della Dogana),他拥有欧洲最大的当代艺术私人收藏陈列室;他巴黎的家则位于市中心,不是特色艺术酒店就是奢华的独立洋房。

The non-negotiable element is that our conversation be in French, so I opt for Paris and e-mail his office to apologise for not being entirely fluent. The reply, in English, comes back instantly: “Monsieur Pinault is very kind about these things, and I am sure will behave as a gentleman.”

不可商量的一点是我们的会谈语言必须是法语,因此我选择了巴黎作为会谈地,然后给他办公室发了份电邮,对自己法语不够流利而致歉。很快对方就给了回复,而且用的是英语:“皮诺先生对这些事无所谓,放心吧,他会表现得很绅士。”

The fact that this needs saying is revealing. A self-made luxury goods magnate, Pinault is internationally acclaimed for his cutting-edge art collection, consisting of 2,000 works, many acquired directly from artists such as Damien Hirst and Jeff Koons. But in France he has never shaken off a reputation as something of a wide-boy who made his wealth through takeovers of ailing companies, aided by political friendships; he is close to Jacques Chirac and Nicolas Sarkozy. “French people ... look at Pinault as a pirate,” Le Monde journalist Harry Bellet told Forbes Magazine, which last year estimated Pinault’s fortune at $8.7bn ? reportedly the third-largest in France.

此事都需要解释,这一点就表明了他是何种人。作为白手起家的奢侈品巨头,皮诺在国际上以前卫艺术收藏而著称,个人藏品多达2000件,许多是直接从达明?赫斯特(Damien Hirst)以及杰夫?昆斯(Jeff Koons)这些艺术家本人手中购得。但在法国,他从未摆脱掉其不佳的名声??在政坛朋友的庇佑下,靠买下濒临破产的公司而暴富的骗子;他与雅克?希拉克(Jacques Chirac)以及尼古拉?萨科奇(Nicolas Sarkozy)关系非同一般。“法国人把皮诺看成是海盗,”《世界报》(Le Monde)记者哈里?贝雷特(Harry Bellet)如是告诉《福布斯》杂志(Forbes Magazine),去年《福布斯》估计皮诺的个人财富为87亿美元??据称是法国第三大富豪。

When I arrive at Sormani, a Michelin-starred restaurant off the Champs-Elysées, Pinault is already there: a lean, silver-haired figure with crystalline blue eyes, mobile features and a questing, slightly sarcastic expression. He darts out from among a gaggle of waiters to greet me: exquisitely courteous but also restless and looking at least a decade younger than his 74 years. Soberly dressed in sleek grey suit, blue shirt, dark purple tie, he apologises immediately that he must leave early, for a funeral. So we begin lunch at once, with Evian water and a plate of succulent mortadella presented on the house.

当我赶到位于香榭丽舍大街(Champs-Elysées)旁的米其林星级餐厅索尔马尼(Michelin-starred Sormani)时,皮诺已经先到一步:他身材瘦削、满头银发,一双炯炯有神的蓝眼睛,脸部表情丰富,带着一幅审问及一丝挖苦的神情。他从一群服务员中快步走出来迎接我:特别彬彬有礼但又劲头十足,比他74岁的实际年龄至少年轻10岁,他穿得一本正经??灰色时髦西服与蓝色衬衣,系着暗紫色领带,马上抱歉得对我说得去参加一场葬礼,所以得早走。于是我们决定赶紧用餐,喝着免费依云矿泉水(Evian)以及一盘多汁摩泰台拉香肚(Mortadella)。

Pinault says he has chosen Sormani for its Italian connection, since we are marking the fifth anniversary, this weekend, of the Fran?ois Pinault Foundation’s inauguration in Venice. Pinault is a regular here and the ma?tre d’, knowing he will not bother with a menu, suggests asparagus to start, then fish. Pinault requests coquilles Saint Jacques (scallops), and when I decline shellfish, recommends the turbot. We both refuse wine: “I only drink in the evening, otherwise it gets complicated,” explains the owner of Ch?teau Latour.

皮诺说他挑选索尔马尼餐厅缘于其意大利风味,因为即将迎来弗朗索瓦?皮诺基金会(Fran?ois Pinault Foundation)在威尼斯成立五周年的纪念日。皮诺是这家餐厅的常客,领班(ma?tre d’)知道他点菜不用菜单,所以建言其先点芦笋,然后再点鱼。皮诺点了清炒扇贝(coquilles Saint Jacques,用干贝炒),当我说不吃贝类海鲜时,他推荐了比目鱼(turbot)。我们两人都不想喝酒:“我只在晚上喝酒,白天喝了担心会误事,”这位拉图尔酒庄(Ch?teau Latour)的主人解释道。

Sormani appeals because “c’est pas trop snob”: important for a man such as Pinault whose empire treads a tightrope between exclusive art and fashion ? from Gucci, to Yves Saint Laurent and Christie’s ? and a defiant non-elitism. I think this is why he favours expensive conceptualists such as Hirst and Koons, whose work depends on branding but is also aggressively anti-bourgeois. By contrast, “in France”, says Pinault, “people think art stopped at the end of the 18th century. Well, perhaps a few curators go on to the 19th, and the impressionists. But then there is un moment de blocage. They close the curtains.”

他喜欢索尔马里餐厅,因为“它特别自命不凡”:这一点对于皮诺这样的人显得尤其重要,因为他的商业帝国就好比在绝世艺术品与时装间小心翼翼地走钢丝??从古驰(Gucci)到伊夫?圣?洛朗(Yves Saint Laurent)再到佳士德(Christie’s)??他是目空一切的非精英主义者。我想这就是为何他特青睐赫斯特与昆斯这些概念型艺术家的作品,这些艺术家的作品价格不菲,个人风格独特,但又强烈地反对中产阶级。皮诺说,与此相反,“法国公众觉得艺术仍停留于18世纪末的水平。哎,也许还有个把博物馆馆长往前推至19世纪,还有印象派画家(impressionist)。但随后就出现了停滞,对其后的艺术则不再评头论足了。”

At his Paris home, he has negotiated an “arbitrage” between new art and the ancien régime furnishings selected by his wife Maryvonne. Less successful was an ambitious, long-running project to build a museum on the site of the former Renault plant at the Ile de Seguin outside Paris, which was halted in 2005 by bureaucratic obstacles. With the parting shot that “eternity is for art, not for projects designed to serve it”, Pinault took his money to Venice, where he was embraced as rescuer of the Palazzo Grassi, languishing since the death of its former owner Gianni Agnelli of Fiat. Within a year, he transformed the Grand Canal palace into a contemporary museum, designed by Tadao Ando; after a fierce battle with the Guggenheim Museum, he also won control of the Punta della Dogana, Venice’s former customs house.

在其巴黎寓所,他在现当代艺术与其妻子玛丽冯内(Maryvonne) 收藏的古代王室家居用品之间来了个折中。不成功的是:他雄心勃勃地计划在巴黎郊外塞甘岛(Ile de Seguin)上前雷诺汽车厂(Renault)的原址兴建一座永久性博物馆,但2005年该项目因官僚政治的阻碍而中途夭折。皮诺甩下“永恒的是艺术,而并非服务艺术的博物馆”的话后与巴黎分道扬镳,进而把钱投向了威尼斯,在那儿他被追捧为葛拉西宫的拯救者,随着前主人菲亚特公司老总吉亚尼?阿涅利(Gianni Agnelli of Fiat)的离世,葛拉西宫日渐破败。皮诺用了不到一年的时间,把大运河边的这座宫殿改造成了由安藤忠雄(Tadao Ando) 设计的现当代博物馆;在与古根海姆博物馆(Guggenheim Museum)进行激烈角逐后,他还赢得了威尼斯前海关大楼(Punta della Dogana)的控制权。

“Italy is plus gaie,” he says, with a wave at Sormani’s glitzy decor of red-painted chandeliers, mock-classical reliefs and crimson velvet walls. “The Italians live well. They have problems, like all countries, but they are well-dressed, the women are pretty.” Italian artists, especially Rudolf Stingel and Maurizio Cattelan, are prominent in his collection; French ones are not. “I don’t look at an artist’s passport,” he protests. “My mission is not to forbid French art. If the quality is there, I buy; if the quality isn’t there, I don’t.” The French, he notes, “don’t buy art ? perhaps it is the Catholic religion, they don’t spend money on things that are superfluous.”

“意大利特棒,”他说,并用手指了指索尔马里餐厅眼花缭乱的装饰:绘成红色的树形灯、仿古浮雕以及深红色天鹅绒墙。“意大利人生活惬意,他们无疑也有很多问题,这与其它国家大同小异,但意大利人穿着讲究,女士们也长得漂亮。意大利艺术家,尤其是鲁道夫?斯汀格尔(Rudolf Stingel)以及莫瑞吉奥?卡特兰(Maurizio Cattelan)的作品在皮诺的个人收藏中占了很大比例;法国人则完全不是这样。“我才不在乎艺术家的国别,”他断言道。“我的使命不是抑制法国艺术。如果它们的艺术水准高,我就买;若是不上档次,就不会去买。”他评述道,法国人“不买艺术作品??这也许是受天主教影响,法国人不会花钱去买不必要的东西。”

The exception is Pinault’s rival Bernard Arnault, an even wealthier luxury goods billionaire, whose plans to build his contemporary museum in Paris did get the green light: his Louis Vuitton Foundation for Creation, designed by Frank Gehry, opens next year. In advance, international dealer Larry Gagosian recently launched in Paris, suggesting that the French capital will become an increasing force in contemporary art. Does Pinault now regret relocating?

唯一例外是比皮诺更有钱的另一位奢侈品巨子、他的商界对手伯纳德?阿尔诺(Bernard Arnault),对方在巴黎开办当代博物馆的计划一路顺利:由弗兰克?盖里(Frank Gehry)设计的路易?维登艺术创作基金会博物馆(Louis Vuitton Foundation for Creation)将于明年开馆。国际艺术品经纪商拉里?高古轩(Larry Gagosian)最近在巴黎高调亮相,表明法国首都将会逐渐成为当代艺术品的中心。那么皮诺如今后悔当初在异国选址吗?

“Je ne regrette jamais,” he says. “I have no sense of nostalgia. Tomorrow is what interests me.” His collection will tour to Seoul this autumn, Brazil in 2014; art from Asia, Africa and Latin America is influencing western artists and vice versa, he says. “We’re on our way to globalisation, this is a vision I like. Everyone knows Venice. It’s Italian but belongs to the world, it’s open to the orient. And the presence of the old, Tintoretto, Titian, in confrontation with the [contemporary] Biennale: we see art continue here. We must die but life continues in art. During wars, the crisis in Japan, art always delivers this small hope, never despair. Artists have a capacity to anticipate the world towards which we are going. The glory of Tintoretto is that art is not dead, the movement hasn’t stopped.”

“我永远不会为此后悔,”他说。“我这个人对过去不留恋,只对明天的事感兴趣。”他的藏品今年秋天将巡回至首尔(Seoul)展出,2014年将到巴西展出;亚非拉的艺术正在影响西方的艺术家,反之亦然,他说。“我们正步入全球一体化,这是我喜欢的未来图景。威尼斯举世皆知,它是意大利城市,但同时又属于全世界,它向东方世界开放。而过去的艺术??如丁托列托(Tintoretto)以及提香(Titian)的作品留存至今??与威尼斯双年展(Venice Biennale)展出的现当代作品互相碰撞:我们看到艺术在不断传承。我们每个人都会死,但艺术生命永存。二战期间,日本社会危机四伏,但艺术仍在传递不熄的希望,从未让人绝望过。艺术家有参与社会发展(我们共同推动的结果)的能力。丁托列托了不起的地方在于表明艺术不会凋零,它发展的趋势永不停息。”

Two plates of fat juicy green asparagus arrive. Pinault methodically cuts the tip off each spear, dabs it in mustard vinaigrette, eats it at a measured pace and leaves the remainder. As a symbol of the self-made entrepreneur’s flight to quality, it is comically apt. For Pinault “started with nothing ? no money, no qualifications, no diploma”.

服务员端上来两盘味美多汁的鲜绿芦笋。皮诺老练地切掉嫩芦笋的尖头,轻轻在芥茉碟中蘸了蘸,慢条斯理地吃着,并把吃剩的东西放一边。独立打拼的企业家经过努力能达到如此品位的吃相,也算有板有眼(虽然不乏诙谐)。皮诺“白手起家??创业伊始没资金、没资历,也没文凭”。

Born into a peasant family in Champs-Geraux, a village in western Brittany, he was mocked at school in Rennes for his rural accent and shabby clothes, and left at the age of 15. “I saw a bit of art in churches, things like that,” but never entered a museum. Then, when he was 30, “a friend in Brittany, a Sunday painter, took me to an exhibition in Rennes of the Nabis and Pont-Aven school. There was no Gauguin, the things were not well-painted but the colours were vivid. My friend said, ‘Look! Look!’ I saw nothing, understood nothing but I went a second time, I made him go back. To insist: that is the Breton character”.

皮诺出生于布列塔尼(Brittany) 西部一个名叫Champs-Geraux的小村庄的农民家庭,在雷恩(Rennes)上学时,因自己的农村口音与衣服邋遢而遭同学嘲笑,他于15岁从学校缀学。“我在教堂了解过一点艺术,”但从未进过任何博物馆。然后到30岁那年,“布列塔尼一位业余画家朋友带我到雷恩去观看了那比派与阿凡桥派(Nabis and Pont-Aven school)的画展。没有高更(Gauguin)这一层次的作品,画得很一般,但色彩很鲜艳。我朋友说,‘快瞧!快瞧!’我啥都没看明白,但随后又去看了一回,让我朋友自己回家。坚持不懈:这就是布列塔尼人(Breton)的性格”。

That tenacity was also responsible for the success of his initial business, in the timber industry. Then in 1980, in London, he stepped into an auction house for the first time. “I saw a small canvas by [Pont-Aven artist] Paul Sérusier,财神网站, a Breton scene of a farm with an old woman. I bought it because she resembled my grandmother. That was my first significant purchase. Then I looked, I read, and I galloped through the twentieth century ? Picasso and the cubists, surrealism.” A landmark was Mondrian’s “Tableau Losangique II”, bought for $8.8m in 1990, which announced the rigorous, cerebral nature of his taste.

正是这种韧性让他初涉商界就取得了成功??做的是木材生意。到了1980年,他在伦敦首次步入拍卖行。“我看到阿凡桥派画家保罗?塞吕西耶(Paul Sérusier)的一幅油画,画的是布列塔尼的某农场的一位老妇人。我买下了画作,因为画中的老妇人很像我的奶奶。这是我第一次重要拍买。然后我到处观看、来回揣摩、囫囵吞枣地浏览二十世纪的艺术作品??毕加索(Picasso)与立体派,以及超现实主义。” 皮诺里程碑式的收藏是1990年他以880万美元拍得蒙德里安(Mondrian)的画作Tableau Losangique II,表明皮诺的艺术眼光达到了独到、犀利的程度。

“At first, you want to show you can do it,” Pinault admits, punching the air with his fist, eyes gleaming, when I ask about the pleasure of the chase (his holding company is called Artemis, after the Greek goddess of hunting). “You buy in the mainstream, then you develop your taste and you don’t need to follow anyone.”

当我问他角逐竞拍的乐趣时(他的控股公司名字取自希腊神话中的狩猎女神阿耳特弥斯(Artemis)),皮诺坦承道,“一开始,就想显摆自己能做到,”他说得挥舞着拳头,眼睛也来了神。“你先得顺大流,然后逐步培养自己的鉴赏能力,最后就无需亦步亦趋他人了。”

In the 1990s, he realised that from the postwar period onwards, “one could still find major things”. “Everything earlier was already in museums, it was too late,” he says. “Then ? voilà! ? I arrived at the contemporary. Two things mattered: the first, to do with my character, my curiosity for knowledge; the second, to be able to buy artists who count.”

上世纪90年代,他意识到二战以来,“仍能淘到有价值的东西”,财神网站。“先前时代的作品都已收至博物馆,个人藏家已经无法再搞到手了,”他说。“然后??这不是吗!??我意识到现当代作品的艺术价值。主要基于两大因素:首先,与我本人性格有关,我求知若渴;其二,能够买到潜力无限的艺术家的作品。”

Pinault is a formidable player. At the 2007 Venice Biennale, for example, he bought the installation of Sigmar Polke paintings in the Italian pavilion just before interested museum directors arrived “un peu après”. Nevertheless, there have been complaints that his programme in Venice changes too slowly, and fails to attract the visitor numbers achieved under Fiat’s reign. The new display of works beginning this weekend, however, is addressing some of the criticism; notably there will be a more clear-cut division between Palazzo Grassi, to be used for short-term exhibitions ? The World belongs to You opens there in June ? and Punta Dogana, where In Praise of Doubt, a long-term museum-style presentation opens on Sunday at Punta della Dogana. This includes works by Koons, Subodh Gupta, Paul McCarthy, Bruce Nauman, Cattelan and ? significantly positioned at the entrance to the exhibition ? Donald Judd.

皮诺是个令人生畏的收藏家。比方说在2007年的威尼斯双年展上,他赶在有意向的博物馆长们出手之前,买下了意大利展厅中西格马?波尔克(Sigmar Polke)展品中的某装置,可谓“千钧一发”。然而,公众抱怨其在威尼斯的展览周期太长,吸引的观众人数甚至赶不上菲亚特集团管理时期。但是,不久前的新画展是对上述批评的某种回应;特别是该展览有截然不同的分工:葛拉西宫(用于短期艺术展)将在六月份展出《世界属于你》(The World belongs to You)画展;之前则在海关大楼,展出类似长期博物馆风格的艺术展《为置疑欢呼》(In Praise of Doubt)。展览的作品包括昆斯、苏伯德?古普塔(Subodh Gupta)、保罗?麦卡锡(Paul McCarthy)、布鲁斯?诺曼(Bruce Nauman)、卡特兰以及在展厅入口处重点展出的唐纳德?贾德(Donald Judd)的作品。

“Mon propre go?t,” Pinault says suddenly, as our main courses appear, “is minimalism ? Donald Judd, Robert Ryman, things assez mystique, big white paintings.” He stabs at his scallops, pushing the accompanying spinach to one side as irrelevant. “But I didn’t want to be a maniac, collecting just one thing, imprisoned in a sole period. So ? j’ai enlargi la palette de ma connaissance [I widened the scope of my knowledge]. Also a spirit of tolerance made me look more broadly.”

我们点的主菜端上来时,皮诺突然说,“我自己特别喜欢极简派艺术风格(minimalism)??唐纳德?贾德、罗伯特?莱曼(Robert Ryman)的作品,画得都是很神秘的东西,那种大幅的白画。”他用叉子叉着干贝吃,把里面不爱吃的菠菜拨到一边。“但我不想一意孤行,只收藏局囿于某个特定时期的某一类作品。所以嘛,我拓展了自己的知识面,而且包容的心态让人能够站得更高、看得更远。”

As I savour my buttery turbot, served with delicate morels and spring vegetables, I wonder what drives an entrepreneur in the desire to possess and then share works of art. Is it a penance for the ruthlessness of business, or a civilising veneer, or a balance to worldliness?

我一边津津有味地吃着用嫩龙葵及春菜一起做的黄油炒比目鱼,一边问他是什么驱使他既想占有艺术作品,然后又愿意拿出来与世人一起分享。这是对尔虞我诈商战的真心忏悔,还是装出一幅有教养的面孔,抑或是圆滑世故的结果?

“There is certainly a form of equilibrium between the material life of business and the life of art,” Pinault concedes. “The passion for art is, as for believers, very religious. It unites people, its message is of common humanity. Art has become my religion ? others pray in church. It’s a banality, but you don’t possess art, it possesses you. It’s like falling in love.”

“从商的物质生活与艺术生活间,肯定会有某种平衡,”皮诺承认。“对于艺术信徒来说,对艺术痴迷到了近乎虔诚的程度。它能联系各种人,所传递的信息是人类共有的东西。艺术俨然已成为我的宗教??别人是到教堂去做礼拜。这老生常谈的事,但你并不能支配艺术,是艺术在支配你。这就好比是一见钟情。”

This is said without irony, and confirmed by anecdotes: consultant Philippe Ségalot, for example, recalls accompanying Pinault to see a Carl Andre floor sculpture; after half an hour of silent viewing, Pinault said, “I have no choice” and paid $7m for it. Like many collectors, he is particularly enthused by his newest discoveries ? he mentions Algerian installation artist Adel Abdessemed and Leeds-born sculptor Thomas Houseago (“he looks like Rodin!”), both significant presences in this weekend’s Dogana opening.

说这些时并无讥讽之意,而且可以通过过去发生的事来佐证:比如说,他的顾问菲利普?塞加洛(Philippe Ségalot)回忆曾有一次陪皮诺去看卡尔?安德尔(Carl Andre)的地板雕塑;皮诺一声不吭地观看了半个小时后说,“我真的难以抗拒”,并付了700万美元买下了该作品。与许多藏家一样,他总是对自己淘到的最新作品爱不释手??他提到了阿尔及利亚(Algerian)装置艺术家阿德尔?阿贝德赛梅(Adel Abdessemed)以及出生于利兹(Leeds)的雕塑家托马斯?豪斯雅戈(Thomas Houseago,长相酷似罗丹(Rodin)),他们的重量级作品均于海关大楼展出。

Does he ever make mistakes? “I can go wrong but not heavily. Collectors are like artists, there are days when you are less en forme, you are tired, it’s not so good.” It is a “fixed rule” that he sees everything he purchases, mostly at studio visits. I propose that he is too powerful to go wrong: his interest in an artist is enough to make a career soar. At this, the competitive streak, politely downplayed so far, rises. “Yes, Gagosian comes to my shows and a fortnight later goes to see the artists and puts them under contract!” Pinault laughs, adding, “ He is terriblement efficace, j’aime bien cet homme! He has the energy, the regard, the intelligence.”

那么皮诺有过看走眼吗?“我可能会看走眼,但不会太严重。收藏家与艺术家一样,总有时间人不在状态,精神疲乏,自己觉得不得劲。”他有个“定则”:购入的每件作品都是亲自去看,多数是实地到画室去。我于是说,他影响力强得不可能出错:只要他对某位艺术家感兴趣,对方的名声就能一飞冲天。听到这,这位之前一直装低调的争强好胜者站起身来对我说。“没错,高古轩曾来看过我的画展,二周后,他直接找到相关艺术家,‘逼着’他们与他签合同!”皮诺笑着说,并补充道,“高古轩办事特果敢,我就欣赏他这种人!他精神十足,关注程度高,人又绝顶聪明。”

A good collector, Pinault says, “needs an eye, emotion, the capacity to feel something in a work. You can be a cold brute in business; you don’t need feelings: it’s effective to eliminate them. But in art everything is about emotion.”

皮诺接着说,一个好的藏家,“需要有好眼力、激情以及鉴赏能力去感知作品所包含的艺术价值。生意场上可以冷酷残忍;不需要付出情感:消除情感因素对生意有效。但一切艺术都与激情有关。”

I quote Sergei Shchukin, great Russian collector of Matisse: “If you feel a psychological shock before a work, buy it without further ado.” “It’s the same with me,” Pinault exclaims, recalling a visit to African-American artist David Hammons. He was so shocked by the work that he left, then returned and bought two pictures. “You don’t want anything trop aimable ? c’est la séduction. There should be no seduction. You need shocks ? Damien Hirst, for example, is having a difficult time now but that’s experience. Anyone who goes through life without tests and difficulties ? huh!” He shrugs dismissively and apologises again that he must leave for the funeral. As I sample a violet meringue from the sprinkled array of petits fours that comes with the bill, the prince of luxury hastens away from the table with a grin: “I live as if I have eternity before me but every morning I say, ‘It could stop here.’”

我引述马蒂斯(Matisse)作品的俄罗斯大收藏家谢尔盖?希丘金(Sergei Shchukin)的话说:“如果你在一件作品前感到心灵的震撼,就要毫不犹豫地把它买下来。”“本人也是如此,”皮诺大声说,并回忆自己曾去看非洲裔美国艺术家大卫?哈曼(David Hammons)的画作。他离开时,被对方的作品深深震撼了,于是又折回去,买了两幅画作。“无需特别亲切的东西??那是诱惑。艺术欣赏不应该是诱惑,需要的是内心震撼??比方说吧,达明?赫斯特如今正经历煎熬,但那就是人生的体验。任何人的人生若不经历历练与苦难??就不会有啥大成就!”他轻蔑地耸耸肩,并再次为自己得赶去参加葬礼而致歉。账单递上来时,我从送的稀稀落落几块小蛋糕(petits fours)中,取了一块紫罗兰色的蛋糕尝了尝,此时这位奢侈品界的巨子快步离开桌子,并笑着说:“我这般生活,似乎生命可以永恒,但每天早上我都说,“生命随时可能终结。’”

‘In Praise of Doubt’, Punta della Dogana,财神网站, Venice, from April 10

《为置疑欢呼》画展威尼斯海关大楼于4月10日拉开帷幕。

译者:常和

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