| 馬克•渥林格(Mark Wallinger)
馬克•渥林格1959生於英格蘭艾塞克斯郡的切格威爾。1977-1978年，在艾塞克斯勞頓學院學習；1978-1981年，在倫敦切爾西藝術學校學習；1983-1985年，就讀于哥德史密斯學院。1995年獲得“透納獎”提名。1998年獲得羅馬英國學校的亨利摩爾獎學金，2001年參與了柏林德國學術交流中心國際藝術家項目，並於2001年代表英國參加了第49屆威尼斯雙年展。如今渥林格在倫敦居住和創作。
馬克•渥林格早期的作品反映出他伸手英國左翼思想傳統的影響，他希望自己的作品具有廣泛的吸引力。1995年，在透納獎的展覽上，他的作品結合了繪畫和錄影，內容是基於他一貫感興趣的賽馬，隱喻英國對階級等級和育馬的狂熱。作品使用一匹真正的賽馬，拓展了冠軍的概念，被命名為《真正的藝術品》[Real Work of Art, 1994]。就算是從更為普遍的意義上來説，他的作品也是對英國在20世紀晚期的身份，其歷史神話、傳統、禮節和社會體系做出的一次幽默諷刺。
渥林格後期的作品更加關注道德和哲學問題，尤其是宗教和死亡。通過發展自己的概念詞彙和視覺詞彙——那些他認為對西方哲學最為重要的主題，他延伸了對哲學的興趣和關注。他常常使用鏡子，並對它的雙重效果和幻想功能很著迷。藝術家運用這樣的主題，超越諷刺的範疇，為他的作品創作了更為深遠的含義。
Mark Wallinger was born in Chigwell, Essex, England in 1959. He studied at Loughton College, Essex, 1977-8, Chelsea School of Art, London, 1978–81, and finally at Goldsmith’s College, London, 1983–5. Wallinger was nominated for the Turner Prize in 1995. He was awarded a Henry Moore Fellowship at the British School in Rome, 1998 and undertook a DAAD International Artists Programme, Berlin, 2001. He represented Britain at the 49th Venice Biennale, 2001. Wallinger lives and works in London.
Mark Wallinger’s early works reflected his roots in the tradition of British left-wing thought, and his wish that his work should have broad appeal. His work for his Turner Prize exhibition in 1995 incorporating painting and film was based on his interest in horse racing as a metaphor for the British fixation with class and breeding, and one that extended the Duchampian idea of the ready made to include an actual race horse named by the artist a Real Work of Art (1994). Yet on a more general level, his work is also a humorous satire of late twentieth century British identity: its historical myths, traditions, ceremonies and social systems.
Wallinger’s later works focus on morals and philosophy, in particular, religion and death. Indeed, the artist has extended his interest in philosophy by developing his own conceptual and visual vocabulary, motifs which he finds central to western philosophy. He often uses the mirror, a device which fascinates him because of its doubling and illusionary effects. These motifs are employed by the artist to create a further interpretation of his work, beyond a mere satirical reading. |
