Since the late 1990s, the work of the New Zealand artist Michael Stevenson has centred on reconstructed historical objects that resemble artefacts from archaeology, anthropology and material culture disciplines. As part of a broader sensibility of twenty-first-century ‘archival,’ ‘archaeological’ and ‘historiographic’ art, Stevenson and his peers have prompted much discussion about the legacy of 1970s institutional critique on post-1990s practice-based treatments of history and museology. What makes Stevenson so interesting within this lineage is his inclination to research relatively overlooked past events in order to problematise a clear line between historical perspective and aesthetic experience. Although Stevenson's work conjures the empiricism of the social sciences and the reflexivity of institutional critique, its nostalgic, fragmented, and multi-temporal characteristics hint at a contemporary treatment of the romantic ruin. Fascinated with the intersections of cultural and economic histories yet sceptical of periodisation, his locating of nostalgia within critical practice reveals the struggle to grasp one's present, endowing viewers with the capacity to reconstruct for themselves the significance of his own reconstructions. Stevenson’s works are invariably borne from historical research, yet they generate a palpable sense of uncertainty about their veracity. Over the last 20 years, Stevenson has addressed issues such as apocalyptic predictions (PreMillennial, 1997), the manufacture of a utility vehicle in New Zealand (This is the Trekka, 2003), art’s relationship to political revolution (Persepolis 2530, 2007), mathematical theories of probability (Introduccion a la Teoria de la Probabilidad, 2009) and the evangelical missionary work of Pentecostal Christians in Papua New Guinea (Signs and Wonders, 2016). Connecting these otherwise diverse installations is the artist’s staging of the intersections of culture and economics as an eccentric form of museological bricolage. Stevenson’s simulated objects are based on real artefacts; however, they tend to be treated so speculatively that what at first looks

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废墟中的历史：迈克尔·史蒂文森的重构美学

自 1990 年代后期以来，新西兰艺术家迈克尔·史蒂文森 (Michael Stevenson) 的作品集中在重建的历史物品上，这些物品类似于考古学、人类学和物质文化学科的人工制品。作为 21 世纪“档案”、“考古”和“史学”艺术的更广泛敏感性的一部分，史蒂文森和他的同龄人引发了很多关于 1970 年代制度批判对 1990 年代后基于实践的历史处理的遗产的讨论和博物馆学。史蒂文森在这个谱系中如此有趣的原因是他倾向于研究相对被忽视的过去事件，以便在历史视角和审美经验之间建立清晰的界限。尽管史蒂文森的作品唤起了社会科学的经验主义和制度批判的反思性，但它的怀旧、支离破碎、和多时间特征暗示了对浪漫废墟的当代处理。他着迷于文化和经济历史的交叉，但对分期持怀疑态度，他将怀旧置于批判性实践中，揭示了把握当下的斗争，使观众有能力为自己重建自己重建的意义。史蒂文森的作品总是来自历史研究，但它们对它们的真实性产生了明显的不确定感。在过去的 20 年中，史蒂文森解决了诸如世界末日预测（PreMillennial，1997）、新西兰多功能车的制造（这是 Trekka，2003）、艺术与政治革命的关系（Persepolis 2530、2007）、概率的数学理论（Introduccion a la Teoria de la Probabilidad，2009 年）和巴布亚新几内亚五旬节派基督徒的福音传教工作（Signs and Wonders，2016 年）。将这些不同的装置连接起来，是艺术家将文化和经济的交叉点作为一种古怪的博物馆拼贴形式。史蒂文森的模拟对象是基于真实的人工制品；然而，他们往往被如此投机地对待，以至于乍一看