The Prada Foundation's latest exhibition 'Art or Sound' opens today in Venice and offers a symphony for the senses, epitomised by this hybrid piece titled 'The Spirit of Yamaha' by Arman, 1997. Courtesy of The Arman Studio Archives, New York

在威尼斯快节奏的建筑双年展中，普拉达基金会(Prada Foundation)目前的节目“艺术还是声音”(Art Or Say)让人感觉像是一个知识分子的游乐园：面无表情的记者们发现自己分崩离析，按下按钮，玩而不是观察。

这正是那种打破边界-打破展览的策展人Germano Celant(谁著名的发明了“艺术贫穷”，或差的艺术)，寻找。毕竟，在当今高度控制的艺术世界里，人们在工作与娱乐、艺术与商品、知识与情感之间划清界限？

在基金会宏伟的三层楼上，正如凯兰特所说，这座“物的剧场”被布置成一种愉快的多媒体、艺术作品、功能物体和想象中的乐器的交互展示。从17世纪的音乐盒到20世纪早期工匠们的实验小号，见曼·雷(Man Ray)的“Ingres Violon d‘Ingres”(1924年)，约翰·凯奇(John Cage)的“水路”(1959)，以及洛丽斯·格雷奥德(Loris GréAUD)的“交叉行李箱”(2004)等当代作品。

在凯兰特看来，艺术和声音之间的关系也存在着等级感：“博物馆已经成为一个以视觉为中心的领域，所有的非视觉感官都受到压制，”他在谈到展览时说。

如果你不听的话，如果你不听的话，所选的作品缺少一个维度：例如，劳丽·安德森的《数字跑步者》（1979），例如，重新创建一个典型的美国语音盒，当观众拿起接收器来听到艺术家存在的问题时，这只是一个完全完整的命题。

凯兰特解释说，我想把生活重新注入临床的、无菌的视觉艺术领域。他选择举办一系列由里卡多·贝雷塔(Ricardo Berreta)等年轻的、通常是本地艺术家表演的节目。“为了产生创造性的诞生，艺术应该是一种感觉的迷宫。”

Sprawling over the Foundation's majestic three storeys, this 'theatre of things', as curator Germano Celant put it, is laid out as a jolly multi-media, interactive display of artworks, functional objects, and imaginary instruments. Pictured: 'Oracle' by Robert Rauschenberg, 1962-65. Photography: Attilio Maranzano. Courtesy of Fondazione Prada

The sensory exhibit encourages visitors to press on buttons and play rather than simply observe. This percussion work is titled 'Echi di suoni e cani che abbaiano' by Eliseo Mattiacci, 1983. Photography: Attilio Maranzano. Courtesy of Fondazione Prada

From left to right: 'Metronome' by Salvador Dali, 1944, 'Indestructible Object' by Man Ray, 1923 (1965), and 'Silent Metronome' by Claes Oldenburg and Coosje van Bruggen, 2005. Photography: Attilio Maranzano. Courtesy of Fondazione Prada

'Pyrophone' by Georges Frédéric Kastner, circa 1876. Photography: Attilio Maranzano. Courtesy of Fondazione Prada

In the foreground: 'Chiming Clock with Iron Case' by Jean Dubois au Puy, circa early 17th century, 'Untitled' sculpture by Alexander Calder, 1940 and 'Composition in Gray' by Theo van Doesburg, 1919. Photography: Attilio Maranzano. Courtesy of Fondazione Prada

'I wanted to reinject life into the clinical, aseptic visual art space,' explained Celant about his choice to hold a series of performances by younger, often local artists. 'In order to generate creative birth, art should be a labyrinth of senses,' he added. Photography: Attilio Maranzano. Courtesy of Fondazione Prada

From the left: 'Singing Bird Cage With Clock' by Pierre Jaquet-Droz. circa 1785 and 'Orchestrion Accordeo Jazz' by Amelotti, circa 1920. Photography: Attilio Maranzano. Courtesy of Fondazione Prada

The façade of the Prada Foundation in Venice

keywords:'Art or Sound', Prada Foundation Venice

关键词：艺术或声音，普拉达基金会威尼斯