A new exhibition curated by Thomas Demand at Fondazione Prada focusses on the theme of authorship, ownership and creativity from 1820 to the present. Pictured: Installation view. Photography: Delfino Sisto Legnani Studio. Courtesy of Fondazione Prada

在什么时候，盗用变成了盗用？如果盗窃行为足够艺术性，它能接受吗？任何艺术形式都可以不从其他地方借入而存在吗？

这些是在米兰普拉达基金会举办的托马斯·需求举办的一个新展览上90幅作品提出的问题。这些作品-可以追溯到1820年，直到现在-证明了这些关于作者身份、所有权和创造力的问题在艺术实践中有着悠久的历史，而且随着网络上自由信息和图像的大量扩散，它们甚至成为艺术家和观众关注的焦点。

L‘ImageVolee(“失窃的图像”)分为三个主要部分，涉及主题的物理和概念上的思考。首先，需求汇集了一些作品，这些作品明确地提到了偷窃的犯罪行为-或者是为了使他们的艺术得以实现而实施了盗窃。这包括美国艺术家理查德·阿特施瓦格的作品(以他的建筑主题和福米卡作品而闻名)。Artschwager委托他的作品-一位名为“1969年被窃地毯”的波斯人-从将在芝加哥展出的展览中被偷走。其他作品，如里希特-莫德尔(Interconti)，1987年-一张咖啡桌，由马丁·基彭伯格(MartinKippenberger)的里克特(Richter)画而成。

这就直接导致了艺术家们重新创作其他艺术家的艺术作品。困惑？这是“独占艺术”的影响之一，比如伊莲·施图特的“杜尚·曼·雷肖像”(Duchamp Man Ray肖像)，它创造了一种眩晕感，与在互联网上无休止滚动的感觉没什么两样。

在约翰·斯蒂扎克和旺奇·穆图的合集中也讨论了拨款问题。

在某一点上，观众变成了观众。值得留心的作品包括Baldessari的“蓝线”(Holbein)装置，1988年，安装了一台隐藏的相机，可以拍摄来访者的照片；以及苏菲·卡勒的“L‘Hotel”-这位艺术家在威尼斯一家酒店当女佣的时候，在空置的房间里拍摄了一些未铺好的床和物品。这一节把展览的讨论进行了一个完整的循环，把偷窥和监视与观察和制作艺术的过程相提并论，然后被观察和消费。

Essentially, the exhibition poses three questions: At what point does appropriation become theft? If an act of theft is artistic enough, is it acceptable? And can any art form exist without borrowing from elsewhere? Photography: Delfino Sisto Legnani Studio. Courtesy of Fondazione Prada

Pictured from left to right: Empty frame of Vincent van Gogh’s Portrait of Dr. Gachet, 1890. John Baldessari's 'L’image volée' poster, 2015 – 2016. Stolen Pictures, 1948 Brochure. Photography: Delfino Sisto Legnani Studio. Courtesy of Fondazione Prada

Carved into three overarching sections, L’Image Volee (The Stolen Image) deals with the physical and conceptual contemplations of the theme. Pictured: Untitled #01 t/c, by Haris Epaminonda, 2010. Courtesy Constantin Thun Collection, Berlin 

American artist Richard Artschwager commissioned a Persian carpert – entitled Stolen Rug, 1969 (pictured) – to be stolen from the exhibition in which it was to appear in Chicago. Photography: Delfino Sisto Legnani Studio. Courtesy of Fondazione Prada

This leads neatly on to artists who re-make other artists’ artwork, aka. Appropriation Art... Pictured: 2 by Henrik Olesen, 2016. Photography: Delfino Sisto Legnani Studio. Courtesy Fondazione Prada

... Like Elaine Sturtevant’s Duchamp Man Ray Portrait (pictured), a piece from 1966, which creates a sense of vertigo that is not unlike the feeling of endlessly scrolling on the Internet. Courtesy Galerie Thaddaeus Ropac and Estate Sturtevant

Appropriation is discussed too in the collages of John Stezaker and Wangechi Mutu. Pictured from left: Oliver Laric's Penelope and Serial Classic. Photography: Delfino Sisto Legnani Studio. Courtesy Fondazione Prada

Of the works to watch out for are Baldessari’s Blue Line (Holbein) installation, 1988, fitted with a hidden camera that takes pictures of visitors. Pictured: Poster for the exhibition 'L’image volée' at Fondazione Prada. © John Baldessari, 2016

At a certain point, the spectator becomes the spectated, as illustrated by this selection of spyware (Soviet and East German spy equipment) from the Wende Museum in Los Angeles. Photography: Delfino Sisto Legnani Studio. Courtesy Fondazione Prada 

keywords:Italy, Fondazione Prada

关键词：意大利，普拉达基金会