第53届威尼斯双年展德国馆参展艺术家资格受关注

第53届威尼斯双年展将于2009年1月22日结束，它接待了超过350000位观众。德国展馆一直处于媒体关注的前沿，并且成为了国家和国际新闻界热烈讨论的话题。

一开始谈论的主要话题集中在选择Liam Gillick作为代表德国展馆展示的艺术家上。（第一个代表德国参加威尼斯双年展的非德国籍艺术家。）

　　威尼斯讯——第53届威尼斯双年展将于2009年1月22日结束，它接待了超过350000位观众。德国展馆一直处于媒体关注的前沿，并且成为了国家和国际新闻界热烈讨论的话题。

　　Gillick间接提到Margarete Schütte-Lihotzky创新性的法兰克福厨房(1926)，Gillick展示了一个装置，这个装置提供了居住空间结构的民主、人性化的模式，并且将其作为缺乏人类环境改造功能的、展馆20世纪30年代具有政治象征的建筑的对照。在对于现代主义模式的两种观点之间，通过古老年代对猫迷信的图像，中世纪享有魔力的恶魔，浪漫主义智慧的象征以及如今驯化的宠物，一种联系就被建立起来了，但是这种迷信的联系也是一种历史的见证。

　　一开始谈论的主要话题集中在选择Liam Gillick作为代表德国展馆展示的艺术家上。（第一个代表德国参加威尼斯双年展的非德国籍艺术家。）这个决定提出了对国家代表的质疑，国家代表在展览的相关方面起到了关键作用。管理者Nicolaus Schafhausen提出了这个问题，因为一些人在全球艺术的大背景下拒绝跨越国界。 Spiegel最近几十年在网上写道，艺术界变得更加的国际化，只有绿园城堡中的国家艺术竞争的旧模式参与到这种“跨越国界的形式中”才是正确的。Schafhausen应该感谢德国联邦外交部 （German Federal Foreign Office），因为他们持续确保了在威尼斯双年展背景下的策展自由。

原文:

As Venice Biennale Ends German Pavilion is Subject of Heated Debate
At the outset the main topic of discussion was the choice of Liam Gillick as the artist to exhibit in the German Pavilion. Photo: ©Natasa Radovic.

　　VENICE.- The 53rd Venice Biennale comes to an end on 22nd November 2009, after receiving over 350,000 visitors. The German Pavilion has been at the forefront of media interest and has been the subject of heated debate in the national and international press.

　　With his allusions to Margarete Schütte-Lihotzky’s revolutionary Frankfurt Kitchen (1926), Gillick presented an installation that provided a model of democratic and human formation of living space as a counterpart to the absent ergonomic functionality of the pavilion’s politically symbolic 1930s architecture. Between these two perspectives on the paradigm of modernism, a connection has been made by a cat - cult icon in antiquity, demon with magic powers in the middle ages, symbol of wisdom in romanticism and domesticated pet today, but still with superstitious connotations - as a speaking witness to history.
 

　　At the outset the main topic of discussion was the choice of Liam Gillick as the artist to exhibit in the German Pavilion. This decision raised the question of national representation, which played a pivotal role in relation to the exhibition. Curator Nicolaus Schafhausen sought to raise precisely this question, as someone who refuses national boundaries in the context of the global art world. Spiegel online wrote that in recent decades, the art world has become a great deal more internationalized and it is thus only appropriate that old models of national artistic competition in the Giardini should be called into question. Mr. Schafhausen would like to thank the German Federal Foreign Office who continued to ensure curatorial freedom in the context of the Venice Biennale.