手中的世界丨德国慕尼黑丨Ester Bruzkus Architekten

展览的想法是将Alexander Tutsek Stiftung画廊中统一的白盒子转化为一系列“房间”，沿中央对齐，让人想起古老宫殿中最初的公共艺术展览。EBA还希望改变展览空间中的材质感受。与希望成为中性背景的去材质化白盒子不同—我们提出了一种物质化的现实，强化人们对建筑如何调解空间体验与艺术品本身的关系的感知认识。

The idea for the exhibition design was to transform the unitary white box of the Alexander Tutsek Stiftung Gallery into a series of “rooms,” aligned along their centers, recalling the origins of public art display in old palaces. EBA also aspired to transform the material experience of the gallery space. Instead of the de-materialized white box – which aspires to become a neutral background – a material reality was proposed that heightens one’s awareness of the ways architecture mediates our experience of space and the perception of the art object itself.

▼作者：Edward Burtynsky, Zeller & Moye x Katie Paterson与Zsuzsanna Kóródi Works by Edward Burtynsky, Zeller & Moye x Katie Paterson and Zsuzsanna Kóródi ©Noshe

空间中有三个主体—一个圆形的天顶、一个由现有花园勾勒出的组合墙体，以及一个六边形体。当人们游走于这些体量中，他们不是在体量之外就是在体量之中：在外部，空间由美术馆墙体限定；在内部，人们能够感受到图形空间的物质性。

Spatially, three material figures were inserted – one with a rounded apse, one which has converging walls and is defined by an existing garden window, and one which is a hexagonal shape. When one experiences these figures, one is either outside or inside of them: outside, the space is defined by existing gallery walls; inside, one experiences the materiality of the figural spaces.

▼作者： Karin Sander与Ariane Forkel， Works by Karin Sander and Ariane Forkel ©Noshe

无论是材质上还是空间上，设计都参考了历史和传统中展示艺术品的方式。纵向的框架让人想起最早的公共博物馆，沿中央排列房间，比如慕尼黑的Alte Pinakotek（建筑师Leo von Klenze，1836）。当人们沿中心游览时，房子的角落形成人们的艺术思考空间，不受他人经过时的干扰。织物墙体同时让人联想起这类历史悠久的画廊的传统，即墙壁覆盖奢华的丝绸。然而装置的设计不仅在于回望过去：这些轻质且通透的墙体还参考了当代透视空间装置，比如已故的罗伯特-欧文（1930 年出生于美国纳什维尔，2023 年出生于纽约）或 Do Ho Suh（1962 年出生于韩国首尔）。在这些当代装置中，轻质通透的材料挑战了人们对于房间永久性的认识。

Both materially and spatially, the design refers to the ways that art has been historically and traditionally displayed. The enfilade of framed openings recalls the origin of public museums, where rooms are aligned through their centers, such as in the Alte Pinakotek in Munich (Architect Leo von Klenze, 1836). By circulating through the center, corners of rooms are created to make spaces for an individual’s contemplation of art, free from the distraction of other people walking by. Fabric walls simultaneously evoke the tradition of these kinds of historic picture galleries where walls are traditionally lined with extravagant silk. But the installation design does not only look backwards in time: the lightweight and translucent walls also reference contemporary installations of diaphanous spaces by, for example, the late Robert Irwin (1930 Nashville USA – 2023 New York) or by Do Ho Suh (born 1962 in Seoul, South Korea). In these contemporary installations, lightweight and translucent material challenges our perception of the permanence of rooms.

▼作者：Julija Pociūtė, Ariane Forkel, Zeller & Moye x Katie Paterson与Zsusanna Kóródi Works by Julija Pociūtė, Ariane Forkel, Zeller & Moye x Katie Paterson and Zsusanna Kóródi ©Noshe

空间的顺序强化了展览的各个章节。单件艺术作品应该放在其他作品的背景中加以考虑。也许这会引起人们生成互相呼应的联想。展览展示了与智能手机相关的艺术作品—空间的开口与智能手机成比例。展览设计与作品的主体相匹配，在游览过程中邀请人们通过自拍参与到展览中，或者用智能手机快照从长长的走廊远望空间。

The sequence of spaces reinforces the individual curatorial chapters of the exhibit. The individual art object should be considered in the context of a few others. Perhaps this invites suggestive alternative associations where ideas echo. The exhibition displayed art relating to the smartphone – the aspect ratio of the openings between spaces is the same as a smartphone. Consistent with the theme of the work, the exhibition design invites the selfie, as well as the smartphone snapshot view down the long enfilade.

▼作者：Sergey Melnitchenko, James Akers与Zeller & Moye x Katie Paterson Works by Sergey Melnitchenko, James Akers and Zeller & Moye x Katie Paterson ©Noshe

关于展览：在智能手机这一划时代的科技创新诞生近二十年后，Alexander Tutsek Stiftung的新展览以“手中的世界”为题目，探索了智能手机在当代艺术中的足迹。自2007年发明以来，智能手机在很短的时间内彻底改变了全世界沟通与媒体使用的方式，并成为每天不可或缺的一部分。该展览包含35位艺术家的近50件作品，比如Erwin Eisch、Karin Sander、Cornelia Parker、Ed Burtynsky、艾未未和 Julian Opie，重点展出玻璃雕塑和当代摄影作品。

About the exhibition: Almost two decades after this disruptive technological innovation, the Alexander Tutsek Stiftung’s new exhibition entitled “The World in My Hand” explores the traces of the smartphone in contemporary art. Since its invention in 2007, the smartphone has revolutionized communication and media use worldwide within a very short space of time and has become an indispensable part of everyday life. The show includes around 50 works by 35 renowned artists such as Erwin Eisch, Karin Sander, Cornelia Parker, Ed Burtynsky, Ai Wei Wei and Julian Opie and focuses on glass sculptures and contemporary photography.

▼作者：Karin Sander，Works by Karin Sander ©Noshe

展览采用了一种叙事方式，从八个角度通过视觉化整理了智能手机多方面的讨论：从智能伴侣的诞生到标志性的触摸屏幕，再到模糊化的空间和时间边界。目的是希望在对应的主题中陈列展品，从而引发一系列联系以及想法共鸣。建筑师所选择的编织墙体营造出一种透视化的体验，因此墙体的框架是可见的，使人们感知到墙体的物质性。

A narrative approach was chosen for the exhibition, which visually summarizes various aspects and debates surrounding the smartphone in eight chapters: from the birth of the technological companion to the characteristic touchscreen and the blurring of boundaries between space and time. The aim was to present the exhibits in the context of their themes in such a way that a variety of associations are possible and ideas can resonate. The fabric of the walls was selected to allow an experience of its translucency so that the framing of the wall is visible, making one aware of the wall’s materiality.

▼作者：Valentin Goppel，Works by Valentin Goppel ©Noshe

▼作者：Tornike Abuladze与Zsusanna Kóródi，Works by Tornike Abuladze and Zsusanna Kóródi ©Noshe

上图：房间之间的墙体边界采用了统一的镜面表皮。下图：编织墙体让人联想起历史悠久的传统画廊，其中艺术品悬挂于奢华的丝绸之上—亦或透明空间中的当代装置，比如Robert Irwin晚期或Do Ho Suh的作品中采用了轻质透明材质，挑战了我们对墙体固有的印象。

Above: The edges of the walls between rooms are lined with a reflective surface. Below: Fabric walls evoke the tradition of historic picture galleries where art was hung on extravagant silk – as well as contemporary installations of diaphanous spaces by, for example, the late Robert Irwin or by Do Ho Suh where lightweight and translucent material usage challenges our perception of the permanence of rooms.

台基、拱墙以及橱柜采用与展览设计一致的语言。

Pedestals, soffits, and vitrines are consistent with the overall design intent of the exhibition design.

▼作者：Artem Humilevskyi与Alejandra Seeber，Works by Artem Humilevskyi and Alejandra Seeber©Noshe

▼作者：艾未未与Tillie Burden，Works by Ai Weiwei und Tillie Burden ©Noshe

▼展墙特写，Close-up of the walls ©Noshe

▼ 作者： Rebecca Ruchti, Julian Opie, Edward Burtynsky 与Aram Bartholl Rebecca Ruchti, Julian Opie, Edward Burtynsky and Aram Bartholl ©Noshe

上图：展陈墙体的透明性基于灯光效果以及从窗洞进入的光线而变化。下图：展览入口展示了家具、建筑和艺术如何在一起形成一个有引导性的展览次序。

Above: The translucency of the exhibition walls changes based on the effect of both electric light and daylight that enters through large windows. Below: A view towards the entrance to the Exhibit shows how furniture, architecture, and art work together to suggest an intuitive visitor sequence.

▼作者：Zeller & Moye x Katie Paterson，Works by Zeller & Moye x Katie Paterson ©Noshe

▼作者：James Akers, Shige Fujishiro与Zeller & Moye x Katie Paterson，Works by James Akers, Shige Fujishiro and Zeller & Moye x Katie Paterson ©Noshe

空间的顺序强化了展览的各个策展章节。单件艺术品应与其他几件艺术品放在一起欣赏。

The sequence of spaces reinforces the individual curatorial chapters of the exhibit. The individual art object should be considered in the context of a few others.

▼作者：Jeffrey Sarmiento，Works by Jeffrey Sarmiento©Noshe

▼作者：Brigitte Kowanz，Works by Brigitte Kowanz ©Noshe

墙体的几何特征与展品特性相关。这两类作品在弯曲和直线墙体中均有呈现。

The geometry of the walls relates to the particular works displayed. These two works are both in a space with a round wall and a straight one.