艺术装置：Des Moines 胶带

公司：	Numen丨For Use	Type：	艺术 \| 室内
Area：	美国	Label：	艺术装置

为展览“空间绘画”而构思和实现的胶带艺术装置，位于得梅因艺术中心高现代主义建筑杰作贝聿铭画廊（I.M.Pei gallery）内。结构与粗糙、粗糙的混凝土表面之间的强烈对比以及画廊建筑富有表现力的几何构成，使装置的轻盈和半透明性得到了高度强调。“寄生虫”的结构来源于这样一种优势宿主，形成了建筑物实际空间流量的有机表示。因此，该装置的可居住结构遵循游客移动的主要轨迹，使他们能够沿着通常的路径移动，只能在一个封闭的、超现实的胶带空间中移动。

Tape installation Des Moines, conceived and realized for the exhibition "Drawing in Space", is situated inside the extraordinary space of lower and upper I.M.Pei gallery, a masterpiece of high modernistic architecture at Des Moines Art Centre. Lightness and translucency of the installation are highly accentuated by radical contrast between the structure and the rough, Brutalist concrete surface and expressive geometric composition of the gallery building. Deriving from of such a dominant host, the parasite structure formed an organic representation of actual spatial flux of the building. The inhabitable structure of the installation thus followed the major trajectories of visitors movements, enabling them to move along the usual paths, only in an elevated, enclosed, surreal space of Tape.

多层常规透明胶带的纹理首先在结构之间拉伸。随后的肌腱连续缠绕通过这个过程产生了复杂的、无定形的表面，这让人联想到有机形式的生长。装置的想法源于一套舞蹈表演的设计概念，其中的形式是从舞者在柱子之间的移动演变而来的。舞者在移动时会拉伸胶带，因此最终的形状是编舞胶带重现。

The tendons of multiple layers of conventional transparent adhesive tape are firstly stretched in between a construction. The following continuous wrapping of tendons results in a complex, amorphous surface through the process reminiscent of growing of organic forms. The idea for the installation originates in a set design concept for a dance performance in which the form evolves from the movement of the dancers between the pillars. The dancers are stretching the tape while they move, so the resulting shape is a (tape) recording of the choreography.

胶带概念进一步发展为更具雕塑感的建筑形式。它实际上是通过混沌包裹的动作“发现”的，其中一维线（“胶带”）慢慢变成二维平面，然后最终弯曲成三维空间。

The tape concept developed further towards a more sculptural architectonic form. It was practically "found" through the act of chaotic wrapping, where a one-dimensional line (“tape”), slowly turned into two-dimensional plane, which then finally curved into volume.

该装置被设想为一个特定于现场的寄生结构，侵入任意位置。主轨迹的直线带线在给定的区域被拉伸，然后这些肌腱被带层对角包裹，通过类似于自然界中此类结构出现的过程，形成复杂的有机形态。

The installation was envisaged as a site specific, parasitical structure invading an arbitrary location. The straight tape lines of main trajectories are stretched across a given area and these tendons are then wrapped diagonally with layers of tape, giving shape to a complex organic form through a process similar to the emergence of such structures in nature.

随着胶带的进一步分层，随着曲率的缓慢增加，图形变得越来越有形。结构的内部是柔软的，有弹性的，柔韧的，而形式本身在静态上是完美的，因为它理想地沿向力的轨迹，由它们字面上定义。在观众进入装置的那一刻，装置就突然变成了建筑。

With the further layering of the tape, the figure becomes more and more corporeal as it picks up on the slow increase of the curvature. The interior of the structure is supple, elastic, and pliable while the form itself is statically perfect, as it ideally follows the trajectories of forces, being literally defined by them. In the moment when the audience enters the installation, what started off as a sculpture seamlessly morphs into architecture.