Summary

In 1986, Dan Graham participated in Chambres d’Amis in Ghent, Belgium, curated by Jan Hoet as an art exhibition outside of the museum, in individual houses. With the help of a local architect, Graham constructed a glass and steel pavilion in a private garden. The resulting work, Children’s Pavilion, is largely forgotten, but it is a pivotal work within the evolution of his oeuvre. Many of Graham’s concerns and topics – such as the relationship between public and private, the nature of a garden, and the possibility of site-specific art works, closer to architecture than to the fine arts, outside of the museum – were also an important part of the exhibition concept of Jan Hoet. Moreover, Children’s Pavilion is not a ‘unique’ work: it is closely related to previous works (both pavilions and spatial proposals), while it has also spawned – and continues to spawn – new projects, collaborations (with Jeff Wall) and pavilions that are often seemingly identical. This double proliferation – both topological and permutational in nature – is typical for his oeuvre, but it also creates very specific problems. Everything within his body of work seems connected, and although these connections are necessary to fully understand each individual pavilion or proposal, they are in many cases still waiting to be revealed.

概括

1986 年，丹·格雷厄姆参加了比利时根特的Chambres d'Amis，由 Jan Hoet 策划，作为博物馆外的艺术展览，在个别房屋中展出。在当地建筑师的帮助下，格雷厄姆在私人花园中建造了一座玻璃钢凉亭。由此产生的作品，儿童馆，在很大程度上被遗忘了，但它是他所有作品演变过程中的关键作品。格雷厄姆的许多关注点和主题——例如公共和私人之间的关系、花园的性质以及特定地点艺术作品的可能性，在博物馆之外更接近于建筑而不是美术——也是一个重要的问题。 Jan Hoet 展览概念的一部分。此外，儿童馆不是一件“独特”的作品：它与之前的作品（展馆和空间提案）密切相关，同时它也催生了——并将继续催生——新项目、合作（与杰夫·沃尔）和展馆往往看似相同. 这种双重增殖——本质上是拓扑的和置换的——是他作品的典型特征，但它也产生了非常具体的问题。他的作品中的一切似乎都是相互联系的，尽管这些联系对于充分理解每个展馆或提案是必要的，但在许多情况下，它们仍在等待揭示。