加拿大國立美術館對Liz Magor於2014年的採訪 節錄

登愣登登登～～更新了喔～～～

來自https://www.gallery.ca/magazine/artists/an-interview-with-liz-magor
加拿大國立美術館對Liz Magor於2014年的採訪 節錄

NGC Magazine: You almost seem to delight in the “double take.” Are you trying to get viewers to look, and then look again to verify what it is they are really looking at?

你似乎對「再仔細看一眼」很感興趣, 你是否要讓觀眾在一次又一次的觀看經驗中，確認他們到底真正看到了什麼？

Liz:
Generally,I prefer experience over reference. I like situations that proceed without a script or a guidebook, because they enlist my full attention and I feel uniquely employed. However, sculpture doesn’t unfold over time the way other events do; so, if I want to make work that depends on that and of active engagement, I have to overcome the static nature of the object. I find that conventional conceptual art, where the idea commissions and informs the image, is detrimental to the phenomenological condition that I value. So I work to keep the organizing idea or meaning at bay for as long as possible, by initiating a series of operations that grow into a process. Each step is determined by the one before it, in a meandering fashion. This isn’t aimless wandering—I do have a subject in mind; I’m just wanting to stay fluid in terms of how I will cover it.

通常,我比較喜歡經驗而非參考。我喜歡在沒有腳本或指南的情況下前進，因為它們吸引了我所有的注意力，我也感到很受雇（自己覺得自己很有用？）但是，雕塑並不像其他事件一樣會隨著時間的流逝而發展，因此若我想依賴雕塑來製做作品並積極參與，我必須克服對象（物件）的靜態特性。我發現傳統的觀念藝術將想法委託並傳達給圖像，不利於我所重視的現象學條件。所以我透過啟動一系列發展成為一個流程的行動，盡可能地將有組織的想法或意義長時間保留。每個步驟都由前一個步驟以曲折的方式判定。這不是漫無目的的徘徊-在我的心中確實有一個主題，我只是想在我所涉及的範圍內保持流暢性。

But even in the middle of doing something, when I’m ostensibly committed to a process, I find myself trying to control the out come by comparing this current, unique event to something I’ve seen or known before. The pleasure of discovery is accompanied by the discomfort of uncertainty, and uncertainty in sculpture is costly, literally, in terms of materials and labour. Sometimes I cave and conclude things prematurely, before all possibilities have emerged. I decide what it’s about, and go their directly. I can distinguish those works from others as not fully being what art can be. For me, this is what studio work is— a struggle to block predictions and biases in order to let the unknown come forward. It might be in the way a material behaves, or an unfamiliar association for an image. To make progress in knowing something means accumulating many “takes” as to what the thing is, or hoe it operates. Art works are privileged in that they can entertain conditions. They can remain inconclusive. I want my work to operate that way — to  vacillate, or digress. I want a work to maintain a position where more than one “meaning” can persist as part of its identity.

但即使在做某件事的過程中，當我表面上投入於一個（製作的）過程時，我發現我試圖透過（製作過程中）當下特殊的事件與我過去曾經看過或知道的事物進行比較，來控制最後的結果。發掘的愉悅伴隨著不確定的不適，不適在雕塑中是昂貴的-從字面上來看-就材料與勞動而言。有時，在一切可能性出現之前，我過早地挖掘及判定結論。我決定了「那」是什麼，並直接前往。我可以將作品從那些還不完全成為藝術的存在中區分出來。對我而言，這就是（藝術家）工作室的工作（任務）— 奮力阻止預測及偏見，為了讓未知（的事物）湧現。可能是材料表現的方式，或著一個不熟的影像的聯想。想在瞭解事物方面取得進展，意味著必須累積許多「花費（心力）（知識？）」，例如事物是什麼或如何運轉的？藝術作品擁有懷抱環境的特權。他們可以保持在無定論（的狀態）。我希望我的作品能以搖擺不定或偏離正軌的方式運作。我希望我的作品能保持一個立場，即可以將多個“意義”以其身份的一部分持續存在。


加拿大人用的英文好難懂...

Keep something or somebody at bay要和不好的結果保持距離

Keep bad thing at bay讓麻煩的事不要接近自己

Keep yourself at bay將自己放在安全的地方

In term of 就...而言/就...的角度/在...方面/