英国文化协会当代艺术珍藏展部份参展艺术家介绍——马克·渥林格(Mark Wallinger)

a.royal ascot皇家爱斯科赛马会

　　录像装置和飞行装置各4台

　　马克·渥林格(Mark Wallinger)

　　马克·渥林格1959生于英格兰艾塞克斯郡的切格威尔。1977-1978年，在艾塞克斯劳顿学院学习;1978-1981年，在伦敦切尔西艺术学校学习;1983-1985年，就读于哥德史密斯学院。1995年获得“透纳奖”提名。1998年获得罗马英国学校的亨利摩尔奖学金，2001年参与了柏林德国学术交流中心国际艺术家项目，并于2001年代表英国参加了第49届威尼斯双年展。如今渥林格在伦敦居住和创作。

　　马克·渥林格早期的作品反映出他伸手英国左翼思想传统的影响，他希望自己的作品具有广泛的吸引力。1995年，在透纳奖的展览上，他的作品结合了绘画和录像，内容是基于他一贯感兴趣的赛马，隐喻英国对阶级等级和育马的狂热。作品使用一匹真正的赛马，拓展了冠军的概念，被命名为《真正的艺术品》[Real Work of Art, 1994]。就算是从更为普遍的意义上来说，他的作品也是对英国在20世纪晚期的身份，其历史神话、传统、礼节和社会体系做出的一次幽默讽刺。

　　渥林格后期的作品更加关注道德和哲学问题，尤其是宗教和死亡。通过发展自己的概念词汇和视觉词汇——那些他认为对西方哲学最为重要的主题，他延伸了对哲学的兴趣和关注。他常常使用镜子，并对它的双重效果和幻想功能很着迷。艺术家运用这样的主题，超越讽刺的范畴，为他的作品创作了更为深远的含义。

　　Mark Wallinger was born in Chigwell, Essex, England in 1959. He studied at Loughton College, Essex, 1977-8, Chelsea School of Art, London, 1978–81, and finally at Goldsmith’s College, London, 1983–5. Wallinger was nominated for the Turner Prize in 1995. He was awarded a Henry Moore Fellowship at the British School in Rome, 1998 and undertook a DAAD International Artists Programme, Berlin, 2001. He represented Britain at the 49th Venice Biennale, 2001. Wallinger lives and works in London.

　　Mark Wallinger’s early works reflected his roots in the tradition of British left-wing thought, and his wish that his work should have broad appeal. His work for his Turner Prize exhibition in 1995 incorporating painting and film was based on his interest in horse racing as a metaphor for the British fixation with class and breeding, and one that extended the Duchampian idea of the ready made to include an actual race horse named by the artist a Real Work of Art (1994). Yet on a more general level, his work is also a humorous satire of late twentieth century British identity: its historical myths, traditions, ceremonies and social systems.

　　Wallinger’s later works focus on morals and philosophy, in particular, religion and death. Indeed, the artist has extended his interest in philosophy by developing his own conceptual and visual vocabulary, motifs which he finds central to western philosophy. He often uses the mirror, a device which fascinates him because of its doubling and illusionary effects. These motifs are employed by the artist to create a further interpretation of his work, beyond a mere satirical reading.