Laurent Grasso Artificial Alis

法国艺术家的作品《Artificial Alis》占据了巴黎Musée d 'Orsay的中殿。现在，随着蓬皮杜中心将这个项目带到上海西岸美术馆盒子展厅，我们重新审视，于2020年12月对这位艺术家进行采访。
The French artist’s, Artificialis, recently dominated the nave of the Musée d’Orsay, Paris. Now, as the Centre Pompidou takes the project to Shanghai’s West Bund Museum, we revisit our interview with the artist from December 2020

　　Musée d 'Orsay画廊专注于19世纪和20世纪初的艺术，但从现在到2021年5月初，其最突出的艺术品是一件当代视频作品——《Artificial Alis》。电影陈列在两块塔楼之间的巨大屏幕上。这是受新展览“the Origins of the Nature in the 19th Century”委托拍摄的。
　　The Musée d’Orsay may specialise in the art of the 19th and early 20th centuries, but from now until early May 2021, its most prominently featured artwork will be a contemporary video piece. Displayed at the back of the main nave, on a giant screen that stretches between two towers, is Laurent Grasso’s film Artificialis, commissioned for the new exhibition ‘The Origins of the World: The Invention of Nature in the 19th Century’.
　　Laurent Grasso是继Glenn Ligon之后第二位占据这一重要位置的当代艺术家，他在去年的展览“Black Models: From Géricault to Matisse中创作了霓虹装置作品“Some Black paris ans”。因此，“Artificial Alis”的主题可谓雄心勃勃的。他以19世纪的科学进步为出发点，寻求更好地理解自然，并以此为基础发展文化和艺术。
　　Grasso is the second contemporary artist ever to be taking over this prime position (following Glenn Ligon, who created a neon installation Some Black Parisians for last year’s exhibition ‘Black Models: From Géricault to Matisse’), and so the themes of Artificialis are suitably ambitious. He takes as his starting point the scientific advances of the 19th century, the quest to better understand nature, and the ways in which this informed cultural and artistic developments.

“19世纪是我非常感兴趣的一个时期，”这位法国艺术家说，他的作品充满了历史痕迹。“在那个时期，科学代表着变革，带来了希望和强大的意念。”那也是一个充满诗意和梦幻般的时代。”
‘The 19th century is a period that greatly interests me,’ says the French artist, whose work is replete with historical references. ‘It was a period when science represented a promise of change and generated optimism and hope, with very powerful imaginary notions. It was also a moment when poetic and dreamlike things could still be found in the scientific domain.’
相比之下，Laurent Grasso认为我们现在缺乏创造性。在由卫星测绘的高度连接的世界中，空间和时间被技术压缩，异国情调似乎不再有一席之地。
In contrast, Grasso considers our present moment to be lacking in creative possibilities. In a hyperconnected world that has been mapped by satellites, where space and time have been compressed by technology, exoticism no longer seems to have a place.

因此，他为奥赛博物馆(创作的艺术品试图重燃这种可能性。在对博物馆的藏品进行了大量研究之后，他决定转向电影，这是他的主要媒介。他会“在中殿安装一种机器:一个发出光信号的发射器，它作用在观众身上，并使整个空间产生共振，这在某种程度上可以复制博物馆中某些大型画作的规模。
His artwork for Musee d’Orsay, therefore, is an attempt to reignite that sense of possibility. After a lot of research into the museum’s collections, he decided to turn to film, his main medium. He would ‘install a kind of machine in the nave: an emitter of a light signal that acts on the spectator and makes the whole space of the nave resonate, which would somewhat replicate the scale of certain large paintings in the museum.’
从环境历史学家GrégoryQuenet曾与Laurent Grasso合作，这位艺术家了解科学研究的新领域，例如地球工程，气候以及人类后世的构想。这激发了他提出拍摄的地点：“贝加尔湖，黄石公园，格陵兰岛，斯瓦尔巴特群岛，特定的沙漠，亚洲的一些岛屿。”可惜，这次疫情封锁意味着格拉索在法国扎根，因此他通过收集的视频素材将精力转向了虚拟探索。
From environmental historian Grégory Quenet (who had collaborated with Grasso for the latter’s history of disaster project in 2014), the artist learned about the new frontiers of scientific research such as geoengineering, the climate emergency, and the idea of the post-Anthropocene. It inspired him to come up with a list of places he would like to go and film: ‘Lake Baikal, Yellowstone, Greenland, Svalbard, specific deserts, some islands in Asia.’ Alas, the lockdown meant that Grasso was grounded in France, and so he shifted gears to virtual exploration via collected video footage.
这部电影最终成为了收集的运动图像的拼贴画，这将模糊了自然与人工之间的区别。有自然光彩的景象：北极光，极地和干旱，成群的鸟类和驯鹿，原始森林的图像。科技影像，其中包括石油钻机，破冰船，太阳能农场和Arecibo望远镜（不幸的是，此后倒塌了），代表了对开采和勘探的追求。这些混杂着绝望的图像：燃烧的森林和贫瘠的土地，我们的星球在人为灾难之后发生了变化。然后，由CGI产生了对超自然现象的探索，地球的发光物质，以及极地冰裂，揭示了其底下的超凡脱俗的光芒。
The film eventually became a collage of collected moving images, that would collectively blur the distinction between the natural and the artificial. There are visions of natural splendour: aurora borealis, polar and arid landscapes, flocks of birds and herds of caribou, visualisations of pristine forests. There are images of technological triumphs, among them an oil rig, an icebreaker ship, a solar farm, and the Arecibo telescope (which unfortunately has since collapsed), representing the drive towards extraction and exploration. These are mixed with images of despair: burning forests and barren landscapes, our planet mutating in the wake of manmade disasters. And then there are CGI generated evocations of the supernatural – a cluster of glowing matter traversing the Earth, and polar ice cracking to reveal an otherworldly glow underneath.

Laurent Grasso解释说：“纪录片主义者不一定要专注于某个地点及其历史，而是要展示一幅引起当今探索问题的拼贴画。”
‘There is not necessarily a documentarian determination to focus on a site and its history, but rather to show a collage that evokes the question of exploration as

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