Mood Machine, 2018, by Asmund Havsteen-Mikkelsen, from Mentalscapes

Last year, Copenhagen-based artist Asmund Havsteen-Mikkelsen sunk a 1:1 scale model of Le Corbusier’s Villa Savoye in a Danish fjord, for Vejle Museum’s Floating Art Festival, to a tidal wave of social media attention. ‘The project is a critical comment on the current status of modernity after the scandals of Cambridge Analytica, the Trump election, Putin’s interference in democratic elections, the advancement of right-wing radicals in Europe, and Brexit,’ the artist provocatively said at the time, serving to raise the level of digital fervor to a flood.

去年，哥本哈根艺术家阿斯蒙德·哈夫斯廷-米克尔森(Asmund HAVSTEN-Mikelsen)在丹麦峡湾为维耶尔博物馆(Vejle Museum)的浮动艺术节推出了1：1比例的勒柯布西耶别墅(Villa Savye)模型，引发了一股社交媒体关注的浪潮。这位艺术家当时挑衅地说，该项目是对剑桥分析(Cambridge Analytica)丑闻、特朗普选举、普京对民主选举的干预、欧洲右翼激进分子的进步以及英国退欧后的现代性现状的批评。

A quieter project celebrates the artist’s subtle side. Printed by small German arts publisher Kerber, Mentalscapes collects Havsteen-Mikkelsen’s painted depictions of modernist architecture and design, created over the last five years. The moody, cocktail-hour tones of the meditative book define the phrase ‘sight for sore eyes’. Each page turn offers a form of visual, architectural therapy.

一个比较安静的项目庆祝艺术家微妙的一面。由德国小型艺术出版商Kerber印刷，Mentalscape收集哈夫斯廷-米克尔森在过去五年中创作的现代主义建筑和设计的绘画作品。沉思书中喜怒哀乐的鸡尾酒时音调定义了“眼睛疼痛的视力”这一短语。每一页都提供了一种视觉，建筑治疗的形式。

Deserting Desert Land, 2019, by Asmund Havsteen-Mikkelsen, from Mentalscapes

“沙漠之地，2019年”，来自Mentalscape的阿斯蒙德·哈夫斯廷-米克尔森著

In the introduction, architecture historian Andreas Ruby sheds light on what these abstract ‘mentalscapes’ symbolise – and of course, they go deeper than their tonal tranquility and pleasing symmetry. ‘I understand the concept to be the possibility of giving a parallel existence to the material reality of architecture in a mental space where we can reflect, transform and redefine,’ Ruby writes. For instance, the colour palatte of sickly yellows, moon greys, and inhuman pinks, gives us the chance to see these famed structures in isolation; separate from the healthy, golden trees in their gardens, and the real-green of their front lawns.

在引言中，建筑学历史学家安德烈亚斯·鲁比揭示了这些抽象的“心理风景”象征着什么-当然，它们比它们的音调宁静和令人愉悦的对称更深入。Ruby写道：“我理解这个概念是一种可能，在我们可以反思、变换和重新定义的精神空间中，给建筑的物质现实以平行的存在。”例如，病态的黄色、月亮灰色和不人道的粉红的颜色，让我们有机会孤立地看到这些著名的建筑；与它们花园里健康的金色树木以及它们前面草坪的真绿色分开。

Whether depicting Richard Neutra’s 1956 Chuey House, or Mies van de Rohe’s Farnsworth House (as seen in Mood Machine, pictured top) Havsteen-Mikkelsen’s buildings appear anything but inviting. They’re hawkish and closed; the observer can coolly look, provided they stand well clear of the front door. As opposed to painting from life, the artist often uses photography as his only reference (as he did with Julius Shulman’s immortalising images of Chuey House, for example), impacting this poised sense of distance. ‘He also eliminates the contemporary furniture and with it any hint of potential activity in the house,’ Ruby continues, ‘which seems to have capitulated to its own imminent disappearance in the darkness of the night.’

无论是描绘理查德·诺尼亚1956年的“楚伊之家”，还是米斯·范德罗赫的“法恩斯沃思之家”(如“情绪机器”中所示，上图)，哈夫斯廷-米克尔森的建筑都显得毫无吸引力。他们是鹰派和封闭的；观察者可以冷静地看，只要他们站好远离前门。相对于生活中的绘画，这位艺术家经常用摄影作为他唯一的参考(例如，他用朱利叶斯·舒尔曼(Julius Shulman)对楚伊宫(Chuey House)不朽的照片所做的)，影响了这种平静的距离感。鲁比继续说：“他也消除了现代家具，也消除了房子里任何潜在活动的暗示，似乎已经屈服于自己在夜色中即将消失的事实。”

And so, as the structures become ghostly, alien and melancholy, the paintings become more intriguing, narrational, calming. They depict a surreal future that will never befall the buildings in real life, with their weathered walls, furniture rotations, and shifting owners. Bookended by a duet of dense and refining texts, written by Ruby and art historian Micheal Diers respectively, there’s a real sense of learning here. If using Mentalscapes as coffee table fodder, expect your guests to stay for more than one cup. §

因此，当结构变得幽灵，异形和忧郁，绘画变得更耐人寻味，叙事理性，平静。他们描绘了一个超现实的未来，它将永远不会降临在现实生活中的建筑物上，它们的墙壁、家具的旋转和业主的不断变化。本书由鲁比和艺术史学家迈克尔·迪尔斯分别撰写的一组密集而精练的文本组成，书中有一种真正的学习感。如果使用Mentalscape作为咖啡桌的饲料，请期待您的客人在此停留一杯以上。§

2018年，由AnmundHavven-Mikkesen，于2018年，AnmundHavven-Mikkesen，来自mentalscapes的AnmundHaveven-Mikkesen

2018年，AsmundHavvsteen-Mikkesen，2018年，AasmundHavven-Mikkesen，来自mentalscapes的空间As膜，2018年。

2018年，由AsmundHavestenMikkelsen、2018年《心理景观》、AsmundHavestenMikkelsen、Mentalscapes制作。