藝術與時裝界的抄襲事件不算什麼新鮮現象，致敬與複製、原創與偽造的界線也變得模糊。近季時裝界不少設計師都愛重新複製時裝屋的 archive，重新推出設計以吸引新一代的觀眾。但是究竟有何原因構成這些複製、重新演繹的創作？模仿的手法會提升原創作品的價值，甚至超越它原本的意義嗎？
意大利藝術家 Maurizio Cattelan 上周在上海余德耀美術館策展 “The Artist is Present”，由Alessandro Michele 帶領的 Gucci 贊助，以一句大膽的聲明解答以上的問題：
“I copy therefore I am.”
展覽雲集逾 30 位中外藝術家，以裝置藝術、雕塑和多媒體藝術品的形式，探究複製、模仿或者是致敬行為的價值。事實上，如今已經沒有任何事物可真正保持擁有 100% 的原創性，複製概念就是代表新時代創作不可或缺的工具。
Kapwani Kiwanga
pink-blue, 2017
Courtesy of the artist and galerie Jérôme Poggi, Paris / Goodman gallery, Johannesburg and Cape Town / Tanja Wagner gallery, Berlin
Maurizio Cattelan
Untitled, 2018
Courtesy of the artist
Superflex
Power Toilets/Council of the European Union, 2018
Power Toilets / Council of the European Union is designed in close collaboration with NEZU AYMO architects
Courtesy of the artist
The Artist is Present, Shanghai 2018 Exhibition View
Andy Hung Chi-Kin (LEGO Certified Professional)
Gucci Sylvie bag made with LEGO bricks
Courtesy of Gucci
複製就像褻瀆神靈的行為：它看上去似有不尊重上帝的嫌疑，但同時也是對他的存在的有意識的表達。
The Artist is Present, Shanghai 2018 Exhibition View
Ragnar Kjartansson
My great, great, grandmother’s song (for China), 2018
Performance
Courtesy of the artist and Luhring Augustine
Ragnar Kjartansson
My great, great, grandmother’s song (for China), 2018
Performance
Courtesy of the artist and Luhring Augustine
The Artist is Present
余德耀美術館
中國上海豐谷路35號
Oct 11 – Dec 16, 10am – 9pm（星期一閉館）
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