藤原西芒(生于1982年),在过去的十几年里,因其规模庞大、内容复杂、剧场式的展览而名声在外。这些展览探讨了根深蒂固的身份建构机制,同时涉及到个人与社会层面。
该作品是为藤原在布雷根茨美术馆举办的大型展览《希望之家》所创作的,结合了安妮·弗兰克的日记以及对当代社交媒体和图像实践的考察。该作品将蛋糕模型展示在桌子上,并由照相机、照明灯和监视器包围,可以在上面看到蛋糕的图像。一小束鲜花是指安妮·弗兰克生日那天收到的那束鲜花。
生日蛋糕是作为安妮·弗兰克生日蛋糕可能拥有的图像而创建的。艺术家以1940年代蛋糕为模型,但也将其与食品摄影中的某些新趋势相匹配,这些趋势围绕自然奢侈的概念,通常的博主和食品设计师经常选择“不起眼”的自制产品、不加处理的展示食物。
展示食物中的这种谦卑是为了“现实”,而要展示这种看似自然的奢华,则需要大量的技术和工作。对艺术家来说,这代表了某种反常的比喻:它也符合战时的审美观,因为配给和短缺,天然、不起眼的产品是唯一的选择。
Over the past decade, Simon Fujiwara (b. 1982) has become known for his staging of large, complex exhibitions that explore the deeply rooted mechanisms of identity construction for both individuals and societies.
The work—conceived for Hope House, Fujiwara’s large-scale exhibition at Kunsthaus Bregenz—combines references to Anne Frank’s Diary and an examination of contemporary social media and image practices. The work presents the model of a cake on a table, surrounded by a camera, lights, and monitors on which images of the cake can be seen. A small bouquet of flowers refers to the ones received by Anne Frank on her birthday.
The birthday cake was created as an image one might have of the cake Anne Frank might have had as a birthday cake. The artist modeled it on what might plausibly be a cake in the 1940s, but also to match it to certain new trends in food photography that center around the notion of natural luxury, where often bloggers and food stylists opt for ‘humble’ homemade and unpolished presentations of food.