Claudia Wieser’s ‘Shift’ (left) at London Mithraeum Bloomberg SPACE, with a selection of ancient Roman artefacts recovered during the site’s restoration in the 1950s. Photography: Dave Morgan

What do Anni Albers, John Hurt and Caligula have in common? All have in some way inspired Claudia Wieser’s eclectically referenced exhibition at the Bloomberg HQ in London. In the Bloomberg SPACE gallery – built directly above the ruins of an ancient Roman temple and underneath Stirling Prize-winning offices designed by Foster   Partners – the German artist has created a new installation that effortlessly timeshifts between the location’s heritage and its contemporary architecture.

安尼·阿尔贝尔斯、约翰·赫特和卡利古拉有什么共同之处？这一切都在某种程度上启发了克劳迪娅·威瑟在伦敦彭博总部的参展。这位德国艺术家在彭博(Bloomberg)空间画廊-就在一座古罗马寺庙遗址的正上方和斯特林奖(Stirling)之下-由福斯特合作伙伴(Foster Partners)设计的办公室里，创建了一个新的装置，毫不费力地在该地点的遗产和当代建筑之间穿梭。

Wieser, who is currently exhibiting work with similar themes at San Francisco’s Jessica Silverman Gallery, has long drawn inspiration from the Roman Empire, and so was a natural choice for the Bloomberg commission. Here, Roman ruins slumber beneath the gallery, along with a selection of artefacts recovered during the site’s restoration in the 1950s, which Wieser has responded to with a series of colourful tabletop wooden sculptures. She imagined the punch of colours as they might have been in Roman Londinium, when the objects were first created, alongside some ‘notably contemporary’ bright blues and pale pinks, that she thinks will appeal to the modern eye.

Wieser目前正在旧金山的杰西卡·西尔弗曼画廊展出类似主题的作品，他长期受到罗马帝国的启发，因此是布隆伯格委员会的自然选择。在这里，罗马遗址沉睡在画廊下面，还有上世纪50年代在遗址修复过程中发现的一些文物，威瑟对此做出了一系列彩色桌面木雕塑的回应。她想象着颜色的冲击力，就像在罗马的伦敦，当这些物体最初被创造出来时，伴随着一些“特别是当代”明亮的蓝调和淡粉色，她认为这些颜色会吸引现代人的目光。

Installation view of ‘Shift’, by Claudia Wieser. London Mithraeum Bloomberg SPACE, 2019. Photography: Dave Morgan

安装视图‘Shift’，由Claudia Wieser。伦敦Mithraeum Bloomberg Space，2019年。摄影：戴夫·摩根

Fractured mirrored works send disrupted reflections around the space – as if splicing a timeline – while vast swathes of collaged wallpaper feature fragments of images repurposed from the 1970s BBC production of I, Claudius, featuring the actor John Hurt as Caligula, plaited with strips of new photographs taken by the artist. Tiled benches (which Wieser encourages visitors to sit on) complete the varied installation, showcasing the breadth of her material and formal understanding. ‘I trained as a blacksmith, which taught me to respect materials’, she explains. ‘And I also worked as a set designer on films, so understand the importance of spatial awareness in an exhibition.’

破碎的镜像作品在空间周围发出了混乱的反射-就像拼接了一条时间线-而大量拼贴的壁纸则展示了英国广播公司(BBC)上世纪70年代制作的I，Claudius的图像片段，演员约翰·赫特(John Hit)饰演卡里古拉，并用艺术家拍摄的几张新照片编成了条纹。瓦片长凳(Wieser鼓励游客坐在上面)完成了各种不同的安装，展示了她的材料的广度和正式的理解。“我受过铁匠的训练，这教会了我尊重材料，”她解释道。“我也是电影的片场设计师，所以我明白空间意识在展览中的重要性。”

Wieser – who has exhibited widely across the United States and mainland Europe, but narrowly in London – hopes this exhibition will mark the start of a greater art affair with the city. She made a point of catching the Anni Albers exhibition at Tate Modern during her brief and busy stay in the capital, noting how the artist has ‘inspired her work’. Nowhere is this more evident than on Wieser’s hand-painted tiles, which patchwork colourfully as if formed on a loom. This nod to historical German design cleverly roots the exhibition in yet another seasonable timeframe: the Bauhaus centenary, which continues to be celebrated across Europe this year. §

Wieser曾在美国和欧洲大陆广泛展出过，但在伦敦只展出过一次。他希望这次展览将标志着与伦敦之间更大的艺术事件的开始。在她短暂而忙碌的首都逗留期间，她特别注意到在泰特现代美术馆举办的安妮·阿尔贝尔斯展览，并指出这位艺术家是如何“启发了她的作品”。这一点在维瑟的手绘瓷砖上最为明显，这些瓷砖五彩缤纷，就像形成在织布机上一样。这种对德国历史设计的认可巧妙地将展览植根于另一个及时的时间框架：包豪斯百周年纪念，今年仍在整个欧洲举行庆祝活动。§

位于旧金山杰西卡·西尔弗曼画廊的“论坛”的安装视图。由杰西卡·西尔弗曼画廊在旧金山杰西卡·西尔弗曼画廊提供的“论坛”安装视图。杰西卡·西尔弗曼画廊

位于旧金山杰西卡·西尔弗曼画廊的“论坛”的安装视图。由杰西卡·西尔弗曼画廊在旧金山杰西卡·西尔弗曼画廊提供的“论坛”安装视图。杰西卡·西尔弗曼画廊

位于旧金山杰西卡·西尔弗曼画廊的“论坛”的安装视图。由杰西卡·西尔弗曼画廊在旧金山杰西卡·西尔弗曼画廊提供的“论坛”安装视图。杰西卡·西尔弗曼画廊