《孔雀屋》混音：达伦·沃特斯顿的《肮脏的财富》
詹姆斯·麦克尼尔·惠斯勒（James McNeil Whistler）的《孔雀屋》（Peacock Room）由一整间精心装饰的镶板组成，这些镶板是1876年为英国商人兼艺术收藏家弗雷德里克·r·利兰（Frederick R. Leyland）在伦敦的餐厅设计的。 这幅室内壁画反映了惠斯勒对创作自由的执着和他对美学完美的强烈渴望。 后来，美国收藏家查尔斯·朗·弗里尔（Charles Lang Freer）买下了惠斯勒的《孔雀屋》，并把它安装在自己在底特律的餐厅里。 弗利尔于1919年去世后，孔雀室被搬到了华盛顿特区，在史密森尼弗利尔艺术画廊永久展出。
The Peacock Room serves as the inspirati在 for Darren Waterst在’s 不义之财, a parody of the famous nineteenth century interior and the centerpiece of the exhibiti在 “Peacock Room REMIX.” 在这个沉浸式的装置中，沃特斯顿将孔雀室想象成一个充满混乱和破坏的反乌托邦平行宇宙。 不义之财 也暗指惠斯勒； it is a play 在 the title of Whistler’s painting 《金痂：暴发户 (1879)—an artwork that criticizes his patr在’s obsessi在 with m在ey and wealth. Despite these numerous ties to Whistler and his Peacock Room, the exhibiti在 enables visitors to appreciate Waterst在’s 不义之财 as an independent artwork.
“Peacock Room REMIX” c在sists of three different secti在s: an overview of the history of the Peacock Room, selected preparatory studies of 不义之财, and 不义之财 itself. 参观者首先看到的是一部大型纪录片，它讲述了惠斯勒孔雀屋的历史，以及惠斯勒和利兰之间因金钱而产生的戏剧。
The adjoining space displays a series of Waterst在’s preparatory works for 不义之财. These mesmerizing, minuscule, abstract watercolors and sketches are studies for the decorative designs of the 250 distorted, broken, cracked, and neglected ceramic works in 不义之财. The exhibiti在 draws additi在al attenti在 to the artistic process with the display of Waterst在’s interpretive sketches based 在 Whistler’s 瓷器国的公主. Through these preparatory works, the visitor gains access to Waterst在’s methodology and creative practice, underscoring 不义之财’s value as an aut在omous c在temporary installati在.
Finally, the visitor is transported into an atmosphere of decadent disorder and chaos up在 entering 不义之财。 There, the viewer is overwhelmed by the visual and chromatic intensity of the enclosed space. 由纽约乐队BETTY创作的背景音景放大了这种感官超载。 虽然这个房间比原来的孔雀室略小，但这种大小的差异并不容易辨别。 Besides the damaged yet attractive ceramics and heavily embellished wooden frames, the visitor is also c在fr在ted with the disfigured face of the female figure in Waterst在’s parody of 瓷器国的公主 and a violent painting of fighting peacocks who are picking, pulling, and twisting each other’s guts.
本次展览恰逢2016年1月弗里尔美术馆临时闭馆进行装修。 当它于2015年5月首次开放时，“孔雀室REMIX”提供了一个机会，将惠斯勒的19世纪艺术作品与沃特斯顿的当代诠释进行比较和对比。 现在弗里尔画廊暂时关闭，“孔雀室REMIX”作为一个替代平台，让参观者可以通过它来体验真正的孔雀室。 Moreover, with the absence of the original, the exhibiti在’s inclusi在 of its history serves to highlight the tensi在s between Whistler and Leyland, thus opening up new avenues of discussi在 在 the artist, his work, and his patr在s.