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引用次数: 0
摘要
本文描述了Irma Salo Jæger、Sigurd Berge和Jan Erik Vold的装置作品Blikk (the Gaze)在音乐、声音、光线和逻辑的重建中对真实性的追求。我在这个装置上的工作是在挪威奥斯陆的国家艺术与建筑博物馆的要求下进行的,他们计划在经过几年的建设后于2022年6月向他们的新建筑开放时,将这个装置作为展览的一部分。在这里,Blikk与同时期的其他作品一起被描述,它有一些共同的特点,也与当时代表和促进激进艺术和策展创新的委托机构的观点有关。这构成了我对修复和重建过程中出现的不同真实性问题的讨论。事实上,随着项目从相对琐碎的修复发展到更复杂的重建,权衡不同的真实性类型成为工作的核心要素。在描述我如何平衡这些关注点时,我使用了书面、视觉和声音来源,并在讨论中补充了1970年艺术家可用的音乐技术信息。
Balancing Conflicting Types of Authenticity in the Reconstruction of Sound and Music in the Installation Work Blikk (1970)
This article describes the quest for authenticity in the reconstruction of music, sound, light and logic in the installation work Blikk (The Gaze) by Irma Salo Jæger, Sigurd Berge and Jan Erik Vold. My work on this installation was undertaken at the behest of the National Museum for Art and Architecture in Oslo, Norway, who planned for the installation to be part of the exhibition when the doors opened to their new building in June 2022, following several years of construction. Blikk is described here in context with other works from the same period with which it shares some characteristics, and also with a view on the commissioning institution that represented and promoted radical artistic and curatorial innovation at the time. This frames my discussion of the different authenticity concerns that emerged during the restoration and reconstruction process. In fact, as the project grew from relatively trivial restoration to more involved reconstruction, weighing different authenticity types became the central element of the effort. I have used written, visual and sounding sources in descriptions on how I have balanced these concerns, and the discussion has been supplemented with information on the music technology available to the artists in 1970.