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密斯·凡·德·罗基金会呈现《失落的边界》，这是一场由奥地利视觉艺术家及行为艺术家Anne Glassner与德国雕塑家Marit Wolters在密斯·凡·德·罗展亭展开的艺术介入。

The Fundació Mies van der Rohe presents “Lost Limits”, an artistic intervention in the Mies van der Rohe Pavilion by the Austrian visual artist and performer Anne Glassner and the German sculptor Marit Wolters.

▼《失落的边界》，”Lost Limits” © Anna Mas

▼装置近景，closer view of “Lost Limits” © Anna Mas

此次艺术介入作为“巴塞罗那画廊周末”（Barcelona Gallery Weekend）与 SWAB 巴塞罗那艺博会的一部分举行，由基金会与 Phileas——奥地利当代艺术办公室、Bildrecht、奥地利住房、艺术、文化、媒体与体育部、奥地利驻马德里文化论坛，以及 Hangar——艺术生产与研究中心共同组织。

The intervention takes place within the framework of the Barcelona Gallery Weekend and SWAB Barcelona, organized jointly with Phileas – The Austrian Office for Contemporary Art, Bildrecht, the Federal Ministry for Housing, Arts, Culture, Media and Sport of the Republic of Austria, the Austrian Cultural Forum in Madrid and Hangar – Centre for Artistic Production and Research.

▼呼应了环绕其周围的洞石，visually refer to the travertine that surrounds them © Anna Mas

▼对“边界渗透性”的感知，Perceive the porosity of limits © Anna Mas

▼对“边界渗透性”的感知，Perceive the porosity of limits © Anna Mass

Marit Wolters的雕塑作品诉说着“存在”：这些短暂的构筑物始终与其所处的空间对话，探索并展现材料的潜能。而Anne Glassner的行动则围绕对日常事件的重复观察而展开。这次合作延续了她们在 2021 年和 2022 年于图根哈特别墅（Villa Tugendhat，米斯·凡·德·罗与莉莉·赖希的作品）举办的展览。在密斯展亭中，两位艺术家带来了结合各自语言的作品，以此展开建筑与自然、公共与私密、家庭与展览、观察者与被观察者、平凡与非凡、存在与缺席之间的对话。

Marit Wolters’ sculptures speak of presence: ephemeral constructions in constant dialogue with the space they occupy, which explore and value the potential of the material. Anne Glassner’s actions are structured around the observation of recurring day-to-day events. The collaboration comes after their exhibitions in 2021 and 2022 at Villa Tugendhat, also the work of Mies van der Rohe and Lilly Reich. Now, in the Mies van der Rohe pavilion, they present an intervention that brings together their respective languages to establish a dialogue between architecture and nature, the public and the private, the domestic and the exhibition, the observer and the observed, the banal and the exceptional. Presence and absence.

▼构筑物与其所处的空间对话，
ephemeral constructions in constant dialogue with the space they occupy © Christian Prinz

Wolters创作的一组混凝土雕塑使用展亭大水池中的水制成，并与密斯展亭相融合，其视觉效果呼应了环绕其周围的洞石。与此同时，Glassner的表演将人们带入展亭内一种不寻常的“日常性”。艺术家身着与建筑融为一体的迷彩服，表演诸如坐下、行走、凝视、躺卧、饮水、进食或玩耍等日常动作——这些动作在展亭中被重新赋予语境。观众的出现同样成为作品的一部分，其在场可能打断或改变表演者的行动轨迹。

A set of concrete sculptures made by Wolters using the water of the large pond in which they are located, are integrated into the Mies van der Rohei Pavilion and visually refer to the travertine that surrounds them. For its part, the performance takes us back to an unusual domesticity in the Pavilion. The artists wear camouflage clothing that visually merges them with the architecture and perform everyday gestures – sitting, walking, looking, lying down, drinking, eating or playing – that are recontextualized within the Pavilion. They incorporate the visitor as part of the work, whose presence can interrupt or redirect the movement of the performers.

▼艺术家身着与建筑融为一体的迷彩服进行表演，
The artists wear camouflage clothing that visually merges them with the architecture and perform © Christian Prinz

对于艺术家而言，将日常活动从私密空间移至如展亭般的公共场所，是一种重拾亲密感的方式。通过这场介入，Wolters与Glassner邀请观众意识到诸如浇水、变换姿势这样简单的举动如何与建筑产生联系。同时，作品也提出了一种对“边界渗透性”的感知：建筑、物体与人的存在如何交汇以消解边界，促使人们反思隐藏与显露、缺席与存在、艺术与生活之间的互动。

For the artists, moving everyday activities from the private sphere to a public space such as the Pavilion is a way of restoring a sense of intimacy. Through this intervention, Wolters and Glassner invite visitors to become aware of the way in which simple acts, such as watering a plant or changing posture, connect with architecture. At the same time, the work proposes to perceive the porosity of limits: how architecture, objects and human presence can converge to dissolve borders, encouraging reflection on the interaction between hiding and revealing, absence and presence, art and life.

▼建筑、物体与人的存在如何交汇以消解边界，
how architecture, objects and human presence can converge to dissolve borders © Anna Mas

▼建筑、物体与人的存在如何交汇以消解边界，
how architecture, objects and human presence can converge to dissolve borders © Anna Mas

此次艺术介入将于2025年9月18日至10月5日向公众开放。

The intervention can be visited from 18 September to 5 October 2025.

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