隨 John Cage 的音符，走進柏林碉堡藝廊：The Feuerle Collection 冷調異境

All Images Courtesy of The Feuerle Collection.

掩蓋或填補過往的撕裂與傷痕，並非德國人的作風。尤其柏林這座城市，保有不少過去背負軍事使命、灰暗歷史色彩的冰冷水泥碉堡（bunker）；在當地政府支持下，開放藝術收藏家購買，將之轉變為私人藝廊。透過公、私部門的合作，荒廢的歷史建物成了獨樹一格的藝術展演平台，同時還替社會注入文化力量，達成雙贏局面。而由二戰時期德納粹碉堡改建而成的 The Feuerle Collection，不僅是顛覆傳統的私人藝廊，更是個與世隔絕、一踏入便會失足墜入的藝術聖境。

The Feuerle Collection. Photo/ def image © The Feuerle Collection.

為軍事目的而蓋的碉堡，多是外貌笨重簡樸、牆身厚實的建築。但，不同於提供人們躲避敵軍空襲、由許多狹小隔間組成的避難所，The Feuerle Collection 前身為戰時放置大型電信通訊機具的空間；挑高約三米五，單層面積廣大，室內只見柱子成排站立。也因此處只供收納，氛圍更顯寂寥，空氣中瀰漫了無限冷冽。

The Feuerle Collection, Site in November 2015 © Gilbert McCarragher.

身為收藏家的藝廊擁有人 Désiré Feuerle 與英國建築師 John Pawson 合作，兩人聯手建築的改造工程與空間設計；藝術品的擺放、燈光配置等所有細節，則由品味卓越的 Feuerle 一手包辦。他不僅展現許多開創性的策展手法，更透過自身對藝術的詮釋，建構出驚人的藝術帝國。

創辦人 Désiré Feuerle。Photo/ def image © The Feuerle Collection.

Désiré Feuerle in front of Anish Kapoor, Torus, Steel, diameter 110cm. Photo: def image © The Feuerle Collection.

導覽員以鑰匙打開 The Feuerle Collection 的第一扇門後，震撼五感的藝術旅程隨即展開。首先，參觀者須走進名為「The Sound Room」的空房裡，伴隨絕對黑暗與毫無噪音干擾的寂靜，聆聽自耳邊響起的 John Cage 鋼琴演奏曲。這一等，便是三分鐘，巧妙的將人們對時空的感知凝結於漆黑中。音樂結束後，位於房間底部的另一扇門突然透出光亮，導覽員引導觀者循線走出暗房，並於原地稍待片刻。

下一秒，四周的燈光頓時全部開啟，一座座莊嚴的吳哥神像、古代中國座椅與掛在牆上的當代藝術品，瞬間衝進眼底。傳說中的所羅門王寶藏或海龍王的水晶宮，若化為真實，想必即是如此震撼。

Installation view of The Feuerle Collection. Anish Kapoor, Torus, 2002, Steel. Photo/ def image ©The Feuerle Collection.

熱愛東方藝術的 Feuerle，收藏了數量龐大，橫跨中國漢、明、清潮，懷抱千年歷史的帝王座椅、床鋪、書桌等古物真跡。同時，出自七至十三世紀高棉帝國、展現極致工藝技法的柬埔寨吳哥石雕神像，也是他的熱情所在。館內的當代藝術收藏件數相對少，Feuerle 卻巧面地融合古今，將雕塑、攝影、畫作與古董穿插擺設；順從自己的感受與直覺，大膽結合風格截然不同的物件，展現打破傳統的陳列美感。

Installation view of The Feuerle Collection. Khmer Deities from 10th to 13th Century with Chinese Platform, Han Dynasty, China, 2nd Century BC – 2nd Century AD. Photo: def image ©The Feuerle Collection.

Installation view of The Feuerle Collection. Nobuyoshi Araki, Erotos, 1993/2015, Gelatin silver print with Garden Stone Bench, Ming Dynasty, China, 16th Century -17th Century, Limestone. Photo: def image © The Feuerle Collection.

Installation view of The Feuerle Collection. Adam Fuss, Daguerreotype, 2010 with Rectangular Table with Four Legs, Early Qing Dynasty, 17th Century, White marble. Photo: def image © The Feuerle Collection.

Installation view of The Feuerle Collection. Nobuyoshi Araki, Tokyo Comedy, 1997/2015, Gelatin silver print with Stone Table, Song Dynasty to early Ming Dynasty, China, 10th Century – 15th Century, Limestone. Photo: def image © The Feuerle Collection.

Installation view of The Feuerle Collection. Nobuyoshi Araki, Kinbaku, 1979/2015, Gelatin silver print with Stone Scholar Table, Ming Dynasty, China, 16th Century -17th Century, Limestone. Photo: def image © The Feuerle Collection.

Installation view of The Feuerle Collection. Khmer Deities from 10th to 13th Century with Chinese Platform, Han Dynasty, China, 2nd Century BC – 2nd Century AD. Photo: def image ©The Feuerle Collection.

在兩層樓的展演空間裡，能見情色大師荒木經惟（Nobuyoshi Araki）的黑白攝影作品，放置於清朝的家具上方，以影像傳遞的濃郁色彩跟情慾流動，呼應線條抽象、圖像意涵隱晦的清朝傢俱。漢明時期與吳哥帝國的古物，也與 Anish Kapoor、Cristina Iglesias、Adam Fuss 等當代藝術家的作品搭配展示。時代、創作媒介、表現形式、質地不同的物件，散佈於 The Feuerle Collection 開闊的空間中；看似隨性，卻創造出一套獨有的秩序與邏輯。

Installation view of The Feuerle Collection. Adam Fuss, From the series My Ghost, Unique Gelatin Silver print Photogram with Large Side Table with Everted Ends, Early Qing Dynasty, 17th Century, Tieli wood. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

A Pair of Imperial Black Lacquered Bookcases with Gold Tracery Dragon Motifs, Ming Dynasty, China, 16th Century, Black lacquer on wood with Adam Fuss, From the series My Ghost, Unique Gelatin Silver print Photogram. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Harihara, Khmer, Pre-Angkor Style, Early 7th Century, Polished Stone. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Installation view of The Feuerle Collection Side Table With Everted Ends, Early Qing Dynasty, China, 17th Century, Elm wood with Nobutoshi Araki, LOVE BY LEICA, 2006/2015, Gelatin silver print. In the back: Scholar Lohan Bed, Quing Dynasty, China, 17th Century, Jichi wood. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Installation view of The Feuerle Collection. Head of Young Make Divinity, Khmer, Baphuon Style, 11th Century, Stone. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Installation view of The Feuerle Collection. Adam Fuss, From the series My Ghost, Unique Gelatin Silver print Photogram with Large Side Table with Everted Ends, Early Qing Dynasty, 17th Century, Tieli wood. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

其中一張中國帝王石桌的正中央，放上了已逝美國藝術家 James Lee Byars 的裝置，奇異的衝突美感，源自於 Feuerle 與這位藝術大師間的小故事。Byars 生前曾給 Feuerle 不少藝術收藏上的建議，包括嘗試更大膽的陳列手法。如今，Feuerle 突破以往低調的行事風格，決定將私人收藏公開分享之際，特地將 Byars 的作品與自己最喜愛的中國藝術齊放。無奈，卻再也無法親自詢問 Byars 是否喜歡這樣的巧思。

Installation view of The Feuerle Collection. Scholar Lohan Bed, Qing Dynasty, China, 17th Century, Jichi wood with Nobuyoshi Araki, Mythology, 2001/2015, Gelatin silver print. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Installation view of The Feuerle Collection. Nobuyoshi Araki, Erotos, 1993/2015, Gelatin silver print with Red Lacquered Lute Table, Ming Dynasty, China, 16th Century, Cypress wood, red lacquered, with gilt decorations. Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Cristina Iglesias, Pozo XII (Desde dentro), 2016 Bronze, pietra serena, electric material and water Photo: Nic Tenwiggenhorn © Nic Tenwiggenhorn / VG Bild-Kunst, Bonn.

Feuerle 對空間的想像與實踐，同樣令人瞠目結舌。一樓展間的一側，走進牆面後驚覺是成片的深色玻璃帷幕，再貼緊落地窗往內細看，才發現窗後是緊鄰 The Feuerle Collection、與自身所處空間尺寸相同的另一座碉堡。但這棟建物並非展演空間，而是一個深 2.5 米、命名為「The Lake Room」的水池。水面之上空蕩無物，只見天光。流露大器的空間運用，不僅是為了保存歷史遺跡的原貌以示敬意，更是為了維持館內恆溫而設計的能量永續系統。以水為媒介，將取自地球的熱能儲存於建物中。

回顧 2010 年，英國雕塑家 Richard Wilson 曾瘋狂的將大量石油注入倫敦 Saatchi Gallery 地下室展間，沈靜透亮的表面，讓所有觀者不敢相信眼前的池水，是足以讓人淹沒的黑油。移植類似概念，Feuerle 則運用更顯禪意的水；適時的一陣微風拂過，在光滑的水面上吹起細緻波紋，這才證實龐大的水體就座落於此。

Black lacquered table Early Ming Dynasty, late 15th Century, lacquer on wood; wooden holders for 24k gold mica plates containing agarwood fragments; Fen-fu-liu (Vyajana) (right), made of blue-and-yellow macaw feathers, 24k gold, Narra wood, and Jin Feng Yin (fan) (left) made of blue-and- yellow macaw feathers, 24k gold, bamboo, commissioned by Désiré Feuerle, 2017. Photo: def image ©The Feuerle Collection.

The Incense Room. Incense table and stools, black wood, concept by Désiré Feuerle, design by John Pawson, project consultant Jerry Chen, produced by Degoo-Chunzai Workshop, Kevin Chen. In the background black lacquered table, Early Ming Dynasty, late 15th Century, lacquer on wood. On the table: Fen-fu-liu (Vyajana) made of blue-and-yellow macaw feathers, 24k gold, Narra wood, and Jin Feng Yin (fan) made of blue-and-yellow macaw feathers, 24k gold and bamboo, cmmissioned by Désiré Feuerle, 2017. Khmer Throne, 17th Century, wood and pigment. Photo: def image ©The Feuerle Collection.

The Incense Room. Detail view of the Incense table, incense burner and 24k gold mica plate with agarwood. Concept by Désiré Feuerle, design by John Pawson, project consultant Jerry Chen, produced by Degoo-Chunzai Workshop, Kevin Chen. Photo: def image © The Feuerle Collection.

The Incense Room. Agarwood fragments, 24k gold mica plates and wooden holders. Photo: def image ©The Feuerle Collection.

Outside view of The Feuerle Incense Room. Female Divinity, Khmer, Baphuon, 11th Century, Stone. Khmer sculptures reflections. Photo: def image ©The Feuerle Collection.

而若談到 The Feuerle Collection 的獨到之處，當然也不得不提館方一手打造的「沈香室（The Incense Room ）」體驗，將傳承自中國漢朝、極富精神性的傳統氣味療法與儀式在一世沉靜中優雅展演。

Outside view of The Feuerle Incense Room. Female Divinity, Khmer, Baphuon, 11th Century, Stone. Khmer sculptures reflections. Photo: def image ©The Feuerle Collection.

走進徹底顛覆視野的 The Feuerle Collection ，呼吸的盡是濃厚詭譎；然而，如同著魔般，卻令人忍不住再多吸一口，只為在腦海裡建構此地完整的感官印象。軍事碉堡原具攻擊性的意味與意圖，如今 Feuerle 透過他的藝術史觀，將其轉變為一座模糊時空輪廓、如夢似幻的冷調境地。

The Feuerle Collection
Hallesches Ufer 70, Berlin.
Opening Hours: Fri/ 02:00 pm-07:00 pm
Sat-Sun/ 11:00 am-07:00 pm
T: +49-3025792320
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