#住在2020# Rikard Fåhraeus

按：“住在2020”系列访谈是“实地想象”自媒体在不平凡的2020年末与生活在各地的艺术界朋友们的联络与问候，通过回顾性的描述，分享他/她们在后疫情时期在各地遭遇的日常生活和可能推进的新近作品，希望由此可能勾勒出这个特殊时期人们具有怎样坚韧的品格、丰富的心灵世界和创造力。了解更多关于“住在2020”系列访谈的想法……

人物：里卡德·费雷乌斯（瑞典）
Artist: Rikard Fåhraeus

1.2020年这一年你生活在哪里？（国家-城市或村庄）请描述一下那个地方和附近的情况。

2020年初，我住在我的工作室里，位于斯德哥尔摩市中心的一座叫做朗霍姆的小岛上的花园房子里（它叫“斯莱普维兰”），工作室是其中的两个房间。这个岛曾经是市监狱所在地，因此岛上住房比较少。现在监狱不在了，实际上变成了一个酒店，被大自然环绕，或者更确切地说是一个公园。即使我在那里的日子既见过狐狸、鹿又见过海狸，但那也不是荒野。现在这儿有更多的人遛狗，一家人在小海滩上沐浴，年轻人在那儿踢足球（或在灌木丛里喝酒），还有船夫。岛上有好几家游艇俱乐部，它们或多或少经营专业的木船。我为一个目前在英国生活几年的朋友照看一艘木制帆船，这艘船大到足够两口子在海上生活几天。事实上，人们曾用这种方式穿越大西洋，但我不建议这样做。尽管如此，它还是载着我和我亲爱的人们去了斯德哥尔摩群岛，那里有三万个岛屿（没错！）。

我的工作室位于一栋有五个房间加厨房的老房子里。它曾经是附近码头工人的生活区，一旁是船坞，他们仍在那里维修小钢船。它就在我房子后面，每天都会产生惊人的噪音。但大多数时候，这里更像是一个风景如画的地方，可以看到水对岸的市政厅的景色。

我们是一个出租房子的小型机构，其中三个房间用作工作室（在顶楼），两个房间用于艺术展览、活动、演讲，也出租给其他人，以支付这些房间的额外费用。房子周围有一个相当大的花园，夏天也可以在这里开展各种艺术冒险活动。由于我们在那里待了十多年，到处都可以看到活动留下的小遗迹。

遗憾的是，今年（2020年）春天，我和我的妻子不得不另找住处。这是因为机构内部关系非常紧张，我们受到驱逐威胁，除非我们停止非法居住状况，否则就要按照机构的另一半希望的那样做。我们最终不和，不得不搬家。这是一段艰难的时期，但最终还是解决了。我们仍然在那房子里保留有我们的工作室，并计划在未来继续我们的艺术活动和展览，即使现在因为新冠的原因已经减少了。

这些天我们住在斯德哥尔摩郊外，因为首都对我们来说太贵了，我们需要同时支付昂贵的公寓和昂贵的工作室的费用。现在的家位于两个小湖之间的一座颇具异国情调的房子里，向南驱车70分钟就到了。这房子曾是一座古老的巨型炼铁高炉，它已经有一百多年没有使用过了，但最近得以修复，我们的房子曾是这里的工头和家人住的公寓。这个地方叫做比约恩达曼（熊池）。迄今为止，我们和其他五个住在这里的家庭还没有在附近树林里见过野熊。这是一个舒适的地方，但离我们的工作室、斯德哥尔摩、朋友和工作地点太远了。如果我们在斯德哥尔摩有很多事情要做，或者辛苦工作一天后不想长时间开车回去的话，我们有可能仍在斯德哥尔摩过夜。那只机灵的猫仍然住在斯利普维利兰，当我们不在那里的时候，它照顾老鼠和游客。（译者注：这里的猫暗示作者自己仍然有时住在老地方斯利普维利兰，尽管他已被迫搬离。）

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2.新冠疫情在你所在国家及其对策对你个人有什么影响？

新冠疫情直接让我失去了大部分收入来源。间接地说，新冠也是导致我们以前工作室房子所有麻烦并让我们搬家的原因。第一，我的收入，是因为我的大部分收入都是在画廊、博物馆、美术馆和其他艺术家那里做助理、建筑工人和杂工挣的。主要的画廊甚至完全关门了，不再开张。我很幸运在一家技术博物馆有两份更大的工作，这使我度过了这一年。

工作室房子的麻烦始于我们两间用于项目出租的房间，举办会议和小型聚会所获的额外收入都消失了。突然间，这两间房子的费用增加了两倍。机构里一半的人希望能找到固定的艺术家住进来，也就是住进我们曾用于举办会议活动的房间。我们中另一拨人不希望这样，因为那样的话这个地方将不再有意思，这个地方也将就此结束。这些情况给我带来的问题远超过我个人在疫情期间遇到的小麻烦，比如在超市里与人保持社交距离，或者不能乘坐便宜得可笑的飞机去度假胜地……当然，我在这方面也很幸运。我和家人都没有被感染。

在2020年，有一件事对我的影响最大——我们的婚姻。我的妻子莱蒂蒂娅于2019年夏天从法国搬到瑞典，2月我们在工作室的花园里结婚。这场婚礼是在疫情爆发前的一个“回文时刻”：2020-02-22，8点过2分2秒（2020022200202），婚礼仪式在这一秒正式开始。朋友们、家人们、身边的亲人们……火、亲密还有欢乐……

3.今年你最享受的某个地方是哪里？你如何在哪里度过时光，能否描述一下那里什么样子。

肯定是我的工作室，即使我在那里也经历过一些最糟糕的时刻。我在工作室什么都做，除了最脏的手艺加工，比如在外面花园里进行焊接和打磨。

在这里，我画草图、画画，做雕塑和翻模。在一个角落里有一张扶手椅，我会花几个小时在这儿沉思和阅读。在另一个角落有一个壁炉，冬天很好用。透过三扇窗户我可以看到花园、树林和海水。天花板有点太低，不适合在里面做大东西，房间里堆满了材料、艺术品和工具。有时我会想起七年前我曾在一件作品里把我所有东西都处理掉了，然后我就纳闷，现在这些东西是从哪里来的……但某种程度上我也喜欢这里有点拥挤。它并不总是最合理和实用的工作环境，但它确实非常……迷人……

4.这一年你去到最远的地方是哪里？

圣诞节期间我们去了阿比斯科两天。这是最疯狂的一次旅行，很昂贵，在许多方面都非常错误，但玩极了。阿比斯科在瑞典北部的一个国家公园里，大多数人去那里是为了大自然，夏天徒步穿越。冬天那里没有一点太阳，那儿也是瑞典雨水最少的地方之一，这意味着冬天也没有多少雪（这儿当然有雪，只是和瑞典北方其他地区相比，没那么多）。这使得它非常适合那些前来找寻北极光的人。

我们来回都乘坐一列有包厢的卧铺夜班火车，又租用了我们自己单独用的车厢，所以把感染或被感染的风险降到了最低。这是一次长达十六小时的火车旅行，途经一片漆黑的雪地。在阿比斯科，我们度过了一个晴朗的夜晚，天空中透着一丝微弱的北极光（或者，也许只是圣诞节的格拉格酒在捉弄我们）。

5.这一年你主要和谁生活在一起？

我妻子莱蒂娅·德尚、我们的猫。我的小儿子现在16岁了，在搬到“熊池”之前，他每两周都来和我们住一起。现在他时而会来工作室，因为这儿离他和他母亲住的地方很近，但他很少和我们一起去乡下。这座城市能为他这个年龄的男孩提供更多可能。

6.新冠大流行对你的工作方式产生了怎样的影响？

我的工作方式可能没有受到那么大的影响，也许对我来说可能因为身在其中，我看不到自己已经改变了我的工作方式。即便如此，我所做的每件事都肯定受到了影响，然后我当然不得不调整我的方式，以适应新的想法和反应。

一个非常明显的事情是“INKUBAT”项目。原计划是在斯莱普维兰（我工作室的那个花园和房子）举行一场简单的绘画聚会，结果变成了使用zoom在线会议。刚开始的时候，对大多数参与者来说这都有点新奇，后来就不那么新鲜了，感觉很多会议都变成了视频会议。

我在这一年里参加的展览与我以前参加的相比，确实都调整了方向。首先是斯莱普维兰一年一度的夏季/春季展，它最终被命名为“101华氏度”，微微发烧当然是指自然界的状态还有新冠大流行。我的参展作品是最初为2019年11月在伯明翰的一个展览制作的一件雕塑，这个展览在英国脱欧之日开幕。它展现的是一对舞动、挣扎、摔跤、捆绑和缠绕在一起的情侣，试图合在一起又同时彼此分离。在斯莱普维兰的花园里，它们更是与周围的常春藤缠绕在一起。

另一个展览被命名为“距离”，在那里我用水彩和消毒液作画。中间是一件运动的雕塑：两把捆在一起的镰刀在空中盘旋，像收割机在缓慢地舞蹈。

7.你的工作（创作或写作或策展等等）是否获得了某种推进？

在工作推迟半年又没有收入的情况下，我向瑞典艺术和资助委员会申请了资助。我很高兴得到一笔补助金，这将帮助我在经济上生存下来。年底的情况对我来说好很多，即便当时的疫情比春天更糟。

8.这一年你是否比往年更焦虑？如果是，你是如何缓解焦虑的？

是的，尤其是工作室的情况和我们被迫搬家，加上更高的开销和更低的收入，给我们的生活带来了相当大的压力。我妻子在瑞典也是新来的，这对她和我来说都不容易。有很多困难要克服。

缓解焦虑并不容易，我倾向于做事，而不是陷入冷漠和抑郁。我的反应更多的是忧郁和愤怒交替。我也和人聊天、写作、做艺术。长时间漫步是治疗焦虑和让头脑放空的一个很好的方法。

9.推荐几部这一年你看过的电影或书（也可以是一段诗），也可以简单说下为什么。

由安德烈·塔尔科夫斯基执导的《飞向太空》，融合了美、心理学和老式科幻小说。

《路边野餐》这本1972年的书，由阿尔卡季·斯特鲁加茨基和鲍里斯·斯特鲁加茨基完成，安德烈·塔尔科夫斯基基于此完成了他代表性的电影《潜行者》。

这两件作品让人感觉有些彼此关联，因为它们描述的情况都是主角无法完全理解的，可能是一种传染病或病毒，一种更强大的致命的事物。

奥尔罕·帕慕克的《我的名字叫红》和村上春树的《刺杀骑士团长》是我今年读的两本书，书中的主角是艺术家和画家。在这些书中，他们所创造的艺术将他们拖入奇怪、神秘和生命进化的体验中。他们代表了两种截然不同的写作方式以及文化背景，但也有一些基本的共同之处。

10.你是否想象过新冠大流行结束之后的人类生活会怎样？

我很肯定这会造成一种“钟摆效应”（一种强大力量反弹产生的危险）。有些人会直接回到他们已拒绝太久的事情上。有些人主张享乐主义，在焦灼世界的边缘，失去任何拯救的希望。有些人绝对会认为这是新事物的开始，进入另一个世界秩序。希望这种朝好方向努力的人们能赢，而不是那些只为旧世界的毁灭而反抗的人。我和其他许多人一样，希望世界能够改变方向，有更加生态的生活方式。越来越明显的是，资本主义的新秩序和它的东方队友不仅在道德上破产了……取而代之的是什么还很难说，但我希望它在众人重新设计断头台之前出现，因为女王和国王不会被他们的饼干噎住。我希望我们都能学会超越恐惧，看得更远。

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1. Where do you live in 2020? Please describe the place and the surrounding environment.

At the beginning of the year, I lived in my studio (Slipvillan), two rooms in a little house on Långholmen which is an island in the middle of Stockholm. The island used to be where the city prison was located and is because of this not full of housing. Now days the prison is gone, actually turned into a hotel, surrounded by nature, or rather a park. It is not wilderness even if I during my years there have seen both fox, deer and beaver. But there are more people walking their dogs, families bathing at the little beach, youngsters kicking football (or drinking in the bushes ) and all the boat-people. There are several boat-clubs on the island and they are all more or less specialized in wooden boats. I am taking care of a wooden sailing-boat, a ”folkboat”, for a friend who is living in England for a few years. It is big enough to house a couple for some days. People has actually used this type to cross the Atlantic, but that is not something I would recommend. Non the less is has taken me and my loved ones to days and weeks out into the Stockholm archipelago with its 30000 islands (true!).

The studio is in an old house with 5 rooms and kitchen. It used to be the living quarters of workers at the nearby dock, boat-slip, where they still take up smaller steel-ships for repair. This is just behind the house and can at days be a source of amazingly much noise. But mostly it is more of a picturesque setting with a view of the cityhall on the other side of the water.

We are a small organization renting the house and three of the rooms are used as studios (top floor) and two rooms are used for art; exhibitions, events, talks and also let out to other to finance the extra cost of these rooms. Around the house is a rather big garden which is also used for various artistic adventures in summer. There are remains of such a little everywhere since we have been there for more than 10 years now.

Regrettably we, me and my wife, had to find other living-quarters this spring. This since there was hard tensions in the organization and we were threatened with eviction unless we terminated the illegal living situation and did as the other half of the organization wanted. We moved and took the fight. It was a hard time but finally resolved. We still have our studios in the house and plan to continue our art-events and exhibitions in the future even if it has been less of this now because of the Corona.

Our living address is these days outside of Stockholm since the capital is too expensive for us both paying for an expensive apartment and an expensive studio. Home is now in a rather exotic house between two little lakes 70 minute by car south. The house is an old giant blast furnace for making iron. It has not been used in over 100 years but is restored just recently as is our apartment which once was the living quarters of the foreman and his family. It is named Björndammen ( the bear pond). We have seen no wild bear so far in the woods that surround us and the 5 other families that live there. It is a lovely place but too far away from our studio, Stockholm, friends and work. We have possibilities to stay over in Stockholm when we have much to do there and when it feels like an overwhelming task to drive long and late after a hard days work. The cat still lives in Slipvillan and takes care of the mice and visitors when we are not there.

2.How does the COVID-19 pandemic affect you personally in your country and its countermeasures?

Covid effected me directly by eliminating most of my sources of income. Indirectly Covid is also the reason to all the troubles at the studio-house leading to us moving. The first, my income, is due to the fact that most of my money I earned by working for galleries, museums, art-halls and other artists as an assistant, constructor and handyman. The main gallery even shut down completely and will never open again. I was lucky to have two bigger jobs at a technical museum that has taken me through the year.

The trouble at the studio-house began as all the extra incomes we had managed to get from our two project-rooms and from letting it out to conferences and minor parties went away. Suddenly the studios for us that have permanent places in the house went to costing twice as much as before. Half of the organization then wanted to find permanent artists also for the half of the house we have used for these other activities. Half of us did not want that since that would be the end of not all then at least most of what is interesting about the place. All the personal problems brought by these circumstances have effected me more than smaller issues like keeping distance to people in the supermarket or not being able to make a ridiculously cheap flight to some holiday resort. But I have of course also been lucky in this. Neither me or anyone in my family has been infected.

There is one thing that has effected me more than anything the year of 2020. Our marriage. Laetitia, my wife, moved to me in Sweden from France in the summer of 2019 and in February this year we got married, in the garden of our studio. The marriage was before the outbreak at a palindrome-moment: 2020-02-22 at 2 minutes and 2 seconds past eight (20200222200202 ) at this second the ceremony started . Friends, family, loved ones all around us. Fires and closeness. Joy.

3. Where is one of the places you enjoy most this year? How do you spend your time there? Can you describe what it looks like?

It must be my studio. Even if I have had some of my worst moments there also. I do everything there except the most dirty handicraft such as welding and grinding which takes place in the garden outside.

Here I sketch, draw, paint, sculpt and mold. In one corner an armchair where I have spent many hours contemplating and reading. In another corner a fireplace that is well used in winter. Three windows showing me the garden, the trees and the water. The ceiling is a bit to low for making big things and the room is too filled with material, art made ready or waiting to be finished and tools. Sometimes I reflect upon the fact that I got rid of absolutely everything material in a project 7 years ago and then I wonder where all this stuff came from. But in a way I like it being a bit crowded. It is not always the most rational and practical place to work but it is very ..charming..

4. Where is the farthest place you have been this year?

We went to Abisko for two days during Christmas. A most crazy trip, expensive and in many ways very wrong but fun and magic. Abisko is in a national park at the very north of Sweden. Mostly people go there for the nature and to trek through it in summer. In winter the sun does not come up at all. It is also one of the places in Sweden where it rains the least. Meaning that there is not much snow in winter either ( compared to the rest of the north, because there is snow.. not just so much ). This makes it ideal for those that hunt a sight of the northern lights , Aurora Borealis.

We took a night-train with our own sleeping cabin there and back, rented our own cabin, so the risk of infecting or getting infected was to the minimum. It is a 16 hour train-trip through a dark and snowy landscape. In Abisko we got one night with clear sky and some very faint whiffs of northern light (or it was just the Christmas glögg that played tricks with us).

5. Who do you live with in 2020?

My wife Laetitia Deschamps. Our cat. Before the move to Björndammen my youngest son who now is 16 lived with us every second week. Now he comes by the studio sometimes, since this is close to where he lives with his mother, but he seldom come with us to the countryside. The city has more to offer a boy that age.

6.How did the COVID-19 pandemic affect the way you work?

The way I work might not have been so effected, or if so it is too close still for me to see that I have changed my modus.

But non the less everything I have done has been effected, and then of course I have had to adjust my way of work to new ideas and reactions.

One very obvious project was the ”INKUBAT” project. It was meant to be simple drawing meetings at Slipvillan (the studio-house). This was changed into be meetings only online using zoom. When we started it was a bit of a novelty to most participants, later on not so new but more of a feeling that there were to many meetings made into video conferences.

The exhibitions that I have taken part in during the year did all change their direction one way or the other compared to what was said originally. First was the yearly summer/spring exhibition at Slipvillan. It finally got the name ”101 Fahrenheit”, a slight fever degree is of course a reference both to the state of nature and the pandemic. My contribution was a sculpture that I originally made for an exhibition in November 2019 in Birmingham that opened on what was meant to be a Brexit date. It depicts a couple that dance, struggle, wrestle, tie and entwine each other in an attempt to stay together and part at the same time. In the garden of Slipvillan they are even more entwined also into the surrounding, here with ivy.

Another exhibition was given the name “Distance” where I contributed with paintings made with watercolor and disinfection-fluid. In the middle a moving sculpture: two scythe tied together circling the air in a slow dance of the reaper.

7. Has your work been promoted in some way?

I applied for a support grant from the Swedish arts and grants committee after half a year of postponed jobs and no income. I was happy to get a grant that will help me survive financially and the end of the year was better for me even if the spread of Covid was worse then than in spring.

8. Are you more anxious this year than in previous years? If so, how do you relieve your anxiety?

Yes. Especially the situation at the studio-house and our forced move combined with higher expenses and lower income put a considerable strain on our life. My wife is also new in Sweden and that is definitely not easy for her and therefor also for me. There has been much struggle to get through.

Relieving anxiety is not easy. I tend to try to do something rather than sink down into apathy and depression. My reaction is more of melancholy taking turns with anger. I talk, write, and make art. Talking long walks is an excellent way of both treating anxiety and letting the mind lose.

9. Recommend some movies or books you have seen this year (or a poem), you can briefly explain why.

The old movie “Solaris” by Andej Tarkovskij for its mix of beauty, psychology and old sci-fi.

The book “Roadside picnic” from 1972 by Arkadij and Boris Strugatskij that Andrej Tarkovskij based his iconic move “Stalker” on.

Both of these feels somewhat relevant as they describe situations that the main-character does not fully understand, maybe an infection, a virus. In any case something bigger and possibly leathal.

The book “My name is red” by Orhan Pamuk and “Killing Commendatore” by Haruki Murakami are two books that I read this year where the main character is an artist, painter. In these books the art they make drag them into strange, mysterious and life-evolving experiences. They represent two very different ways of writing as well as cultural background but still have some basic drift in common.

10. Have you ever imagined what human life would be like after the end of COVID-19 pandemic?

I am quite sure this will result in a pendulum – effect. Some will dive straight back into what they have been refused for too long. Hedonistic joy without any hope of salvation on the brink of a burning world. Others will absolutely see this as the start of something new, another world-order. Hopefully the good side of such striving will win and not those that want to revolt for only the sake of destruction of the old. I have the hope as many others that the world can change course into a more ecologic way. It becomes more and more clear that the capitalistic new order as well as its eastern counterparts are bankrupt not only morally. What comes instead is hard to say but I hope it comes before the crowds reinvent the guillotines because the queens and kings will not choke on their cookies. I hope that we all learn to see further beyond our fears.

关于艺术家

里卡德·费雷乌斯（Rikard Fåhraeus）是一名瑞典艺术家，主要从事雕塑创作。他于1999年获斯德哥尔摩工艺美术与设计大学美术系美术硕士学位，从那时起，费雷乌斯定期在国内外展出。自2008年以来，他是艺术家自营画廊Studio44的成员，参与了许多艺术项目、展览和交流。他在斯莱普维兰的工作室花园房子是他个人工作的地方也是集体创作的中心。费雷乌斯曾获制作五件永久性公共雕塑的荣誉，其中三件在斯德哥尔摩。

About the artist

Rikard Fåhraeus is a Swedish artist working mainly with sculpture. He got his master of fine arts from the University of Arts, Crafts and Design in Stockholm in 1999 after attending the department for fine arts, painting. Since then Rikard has exhibited regularly nationally and abroad. He is a member of the artist run gallery Studio44 since 2008 and has there been involved in many artistic projects, exhibitions and exchanges. The studio-house Slipvillan where he works is also a hub for collective creative processes. Rikard has been given the honor of making five permanent public commissioned sculptures, three in Stockholm. Artist’s website: http://rikard.yolasite.com/

“住在2020”系列访谈策划/编译：罗菲
本文图片由艺术家提供