Instagram文艺复兴：全民艺术时代正在到来

编者按

疫情期间，艺术教育开始向网络转移。不同于被动接受，安静欣赏，这次在Ins上的名画cosplay挑战使所有人能够大胆挥洒创造力。艺术、庸俗和搞笑之间，是那些努力抗击这段黑暗日子的平民艺术家们。

世界各地的人们正画上一字眉，用厕纸、床单来模仿名画场景。等等，我们刚刚说的是，厕纸？

A woman with a roll of toilet paper around her neck. A man with lettuce on his head, bare-chested in a sheet, delicately holding a large goblet of red wine. A child with small lilac angel wings posed atop a mound of — again — toilet paper, with siblings and parents looking on in the background. For weeks, people have been recreating works of fine art using household items and posting their tableaus on social media.

脖子上挂着一卷厕纸的女人；头上顶着一颗生菜，裸着上身，裹着床单，优雅地端着一杯红酒的男人；戴着紫色天使翅膀的小孩，站在一堆厕纸上（又是厕纸！），他的兄弟姐妹和父母在身后注视着。几周以来，人们一直在用家里常见的物件重现艺术品中的场景，并发布在社交媒体上。

At a time when museums are closed, galleries have shuttered and art education has largely moved online, these images have formed a living archive of creativity in isolation. Tens of thousands of recreations appear under the hashtags #mettwinning, #betweenartandquarantine and #gettymuseumchallenge. Some have been made by arts professionals, but many of them are the skillful works of amateurs.

疫情期间，博物馆和画廊都不对外开放，艺术教育大部分转移到了网络上，这些社交媒体上的模仿照形成了一个疫情期间创造性的活档案。在#mettwinning(遇见模仿艺术），#betweenartandquarantine（艺术与隔离中间）和#gettymuseumchallenge（来接受博物馆挑战）的标签下诞生了无数新奇的作品，它们有些是由艺术专业人士制作的，但更多是业余爱好者的大作。

Anneloes Officier believes that her household in Amsterdam started this spontaneous wave of imitative works. For a month, she has been collecting submissions and posting them on the Instagram account @tussenkunstenquarantaine (a reference the Dutch television program “Tussen Kunst en Kitsch,” whose title means “between art and kitsch”).

安内洛斯·奥菲希认为，她在阿姆斯特丹的家是这次艺术品场景模仿浪潮的发源地。一个月来，她一直在收集网友发布的作品，并将它们发在Instagram账号@tussenkunstenquarantaine上(这个账号的名字源于荷兰电视节目“Tussen Kunst en Kitsch”，意思是“介于艺术和庸俗之间”)。

“Over 24,000 contributions have come in through our hashtag,” Ms. Officier, 31, said, adding that staff members from the Rijksmuseum, the Metropolitan Museum of Art, the Louvre, the Getty and the Hermitage have taken part. The creators sometimes impose their own rules and restrictions, such as limiting the number of props or the time allotted to create a replica.

“目前我们的话题下面已经发布了超过24000个作品。”一名31岁的奥菲希女士说。她还补充道，国立博物馆、大都会艺术博物馆、卢浮宫、盖蒂博物馆和冬宫博物馆的许多工作人员也参与了该活动。创作者有时会给自己设定一些规则和限制，比如说道具的数量或规定还原作品的时长等。

These recreations recall the work of the artist Nina Katchadourian, whose series “Lavatory Self-Portraits in the Flemish Style” was shot entirely in airplane bathrooms. They’re part of a larger body of work, called “Seat Assignment,” in which she creates art during commercial flights.

这些娱乐活动让人联想到艺术家尼娜·卡查多里安的系列作品《佛兰德风格洗手间自拍》，其中的照片均在飞机卫生间里拍摄，是她在商业飞行期间创作的艺术作品《座位分配》中的一部分。

“I was trying to make art under circumstances where art doesn’t seem possible. It involves a kind of magic trick,” Ms. Katchadourian said. “It’s not unrelated to the constraints people are under now.” She’s “delighted and charmed” to see that others are taking to the form.

卡查多里安说道：“我尝试在几乎不可能进行艺术创作的条件下创作艺术，就像魔术一般。这与人们现在活动受限的状况不无关联。”她还表示，很高兴看到更多人在加入这个行列。

Francesco De Grazia, a 25-year-old classical guitarist from Sicily, said that almost every concert and artistic event he had been looking forward to has been canceled, leaving him with plenty of time on his hands to dress up like a Caravaggio painting. “The only possibility is to make use of the tools offered by the web while waiting for this nightmare to pass,” he said. “I hope I was able to make someone laugh.”

弗朗西斯科·德·格拉齐亚是一位来自西西里岛的古典吉他手，几乎所有他期待的音乐会和艺术展都已经取消，这也使他有了更多时间去还原卡拉瓦乔的画作。他说：“现在我能做的就是利用网络这个工具，尽力给他人带来快乐，同时等待着这场噩梦过去。”

Although not normally a big fan of social media, Crystal Filep, a 36-year-old urban planner from Wellington, New Zealand, decided to join in after her mother encouraged her to try her hand at the challenge. “I was attracted to the bodily, tactile nature,” she said. “I had been spending an unhealthy amount of time in front of screens for virtual meetings, emails, spreadsheets.” Turning away from work to take part in a creative exercise “helped lighten things, and put things in perspective,” Ms. Filep said.

来自新西兰惠灵顿的36岁城市规划师克里斯托·菲利普虽然平常不是社交媒体的狂热爱好者，但在母亲鼓励下，她决定勇敢地接受挑战，加入这一活动。菲利普小姐表示：“我被身体的造型和触觉的天性吸引。在这之前，我一直坐在屏幕前，在视频会议、电子邮件和电子表格上花费了难以想象的超长时间。从工作中脱身并投入富有创造性的活动，这有助于减轻负担，更好地感受事物。”

In interviews with more than a dozen participants in the challenge — among them a Japanese actor living in London and a social worker from Azerbaijan — every person mentioned the sense of lightness that came from pretending to be someone else for a moment. They also spoke about their love for art and museums. There are so many people who miss the quietly social act of looking at art with others. For now, they will have to make do with virtual gallery tours and riffs on famous paintings posted to Instagram.

在对该项挑战十几名参与者的采访中，每一个人，其中包括一位住在伦敦的日本演员和一位来自阿塞拜疆的社工，都提及到片刻假装成他人所带来的轻松感），似乎在复盘画作人物中找到了力量。同时他们也谈及了自己对艺术和博物馆的热爱。世上有那么多的人怀念着和别人安静欣赏艺术的社交行为。而在当下，他们只能在Instagram上复盘名画，进行虚拟画廊展览。

These embodiments of artworks have a historical precedent. Long before we were dabbing eye shadow on our lips and posing with toilet paper, people were donning makeup, holding props and posing rigidly in place for up to a full minute as part of a dramatic practice known as tableau vivant, or living picture. Historians have traced evidence of the phenomenon back to the 1700s, where it served as a form of entertainment and instruction.

此类艺术模仿作品有历史先例。早在我们往嘴唇上抹眼影，用厕纸摆造型之前，人们就已经化上妆，拿着道具，僵硬地保持着姿势长达一分钟，作为一种在法语中被称为“静态舞台造型”（在英语中被叫做“活体画”）的戏剧性尝试的一部分。历史学家们表示这种现象据现有证据可追溯到18世纪，那时，它是一种娱乐和教育的形式。

In 1760, a group of Italian comedic actors recreated Jean-Baptiste Greuze’s painting “The Village Betrothal in Les Noces d’Arlequin” as part of larger theatrical performance, and in 1781, children at the Royal Palace of Versailles supposedly participated in a series of tableaux vivants inspired by the paintings of Jacques-Louis David and Eugène Isabey. The hobby picked up steam during the 1800s, and reached its peak around the turn of the 20th century.

1760年，一群意大利喜剧演员再创作了让·巴普蒂斯特·格雷兹的油画《乡村里的订婚》，作为大型戏剧表演的一部分。1781年，凡尔赛宫的孩子们参加了一系列以雅克·路易斯·大卫和尤金·伊莎贝的绘画为灵感的生动活体画表演。此类表演于19世纪兴起，并在20世纪初达到顶峰。

While the widespread use of photography and the availability of the cinema made the practice of tableau vivant seem less engaging, it never fully faded from sight. Every year, residents of Laguna Beach, Calif., dress up for the Pageant of the Masters, an event that has been referenced in popular culture (including on episodes of “Arrested Development” and “Gilmore Girls”).

虽然摄影的广泛使用和电影的普及使这种舞台静态造型显得不那么引人入胜，但它从未完全淡出人们的视线。每年，加州拉古纳海滩的居民都会为真人入画表演盛装打扮，这一盛事在流行文化（包括在电视剧《发育受阻》和《吉尔莫女孩》）中被反复提及。

When restrictions on public life are lifted, participation in this social media challenge — and several others that have emerged over the last month — will surely wane. But some educators are hoping to keep the recreations going long after stay-at-home orders end.

“I’m definitely going to keep assigning this project,” said Stacy Antoville, who teaches art at the Clinton School, a 6-12 public school in Manhattan.

当市民们的公共生活不再收到限制，参与名画cosplay挑战和上个月出现的各种其他挑战的人肯定会减少。但一些教育工作者希望，在宅家限制结束后，这类娱乐活动还能继续开展下去。

曼哈顿克林顿中学的艺术老师，斯塔西·安托维尔说：“我肯定会继续给学生布置类似的作业。”

Like the rest of the city’s residents, her students are “dealing with a lot of trauma right now.” Some are grieving losses; others are anxious about the future. They’re having trouble focusing on schoolwork and art, but they rose to the tableau vivant challenge in a way Ms. Antoville didn’t expect, gamely fashioning themselves as famous subjects like Frida Kahlo and Salvador Dalí. “I hope this can give them one good memory from this time,” she said.

和这座城市中其他的人一样，她的学生们“正面临各种精神创伤”。有些人正因着亲人的去世而悲痛不已;而另一些人则对未来感到非常焦虑。在这种情况下，他们很难专注于学业和艺术，但安托维尔没有预料到的是，他们以这种方式迎接了这个充满创造力的挑战，大胆地把自己扮成弗里达·卡罗（著名的墨西哥女画家，1907年7月6日－1954年7月13日）和萨尔瓦多·达利（著名的西班牙加泰罗尼亚画家，1904年5月11日－1989年1月23日）这些名家画中的人物。安托维尔说：“我希望这能在疫情期间带给他们一些美好的回忆。“