2020年经济学人 在线艺术展览的优缺点(2)（在线收听）

But not every artist, gallery and form showed to equal advantage in this alternative fair. Not surprisingly, simple two-dimensional works in bright colours came across best. No sculpture or conceptual art was included. Subtle pieces, such as Lucas Arruda’s impressionistic desert-scapes, which seem as much a mood or a state of mind as a physical depiction when you see them in real life, had little impact when viewed remotely.

但并不是所有的艺术家、画廊和形式都在这个另类的展览会上表现出同等优势。雕塑或概念艺术并不包括在内。一些微妙的作品，比如卢卡斯·阿鲁达的印象主义沙漠风景，当你在现实生活中看到它们时，它们似乎是一种情绪或一种精神状态，而当你从远处看它们时，几乎没有影响。

Besides depth and texture, there are aspects of gallery-hopping that a website is unlikely to replicate. One is serendipity— the sense of wandering between artworks and encountering the unexpected. Another is sociability. Art is a communion between artist and viewer, but galleries and fairs are also places to swap opinions and share enthusiasms.

除了深度和质感之外，逛画廊还有一些网站不太可能复制的方面。一种是“意外发现”，即在艺术品之间徘徊，遇到意想不到的东西。另一种是社交能力。艺术是艺术家和观众之间的交流，但画廊和博览会也是交换意见和分享热情的地方。

There are ways to compensate for these inevitable de?ciencies. As they shut their physical doors, some of the world’s ?nest galleries and museums are o?ering whizzy interactive visits, 360-degree videos and walk-around tours of their collections, all without queues and high ticket prices. One of the best is laid on by the Rijksmuseum in Amsterdam; its tour allows visitors to view its Vermeers and Rembrandts, including the magni?cent “Night Watch”, far more closely than would normally be possible. Another standout o?ering is from the Museu de Arte de S?o Paulo, which has an even broader collection. On its virtual platform, its paintings, spanning 700 years, appear to be hanging in an open-plan space, seemingly suspended on glass panels, or “crystal easels” as the museum calls them, ideal for close-up inspection.

有一些方法可以弥补这些不可避免的缺陷。一些世界上最好的画廊和博物馆在关闭实体馆的同时，还提供了令人眼花缭乱的互动参观、360度全景视频和藏品巡展，所有这些都不用排队，也不用支付高昂的门票。其中最好的是阿姆斯特丹国立博物馆举办的；游客们可以近距离观赏维米尔和伦勃朗的作品，包括宏伟的《守夜人》。另一件引人注目的展品来自圣保罗艺术博物馆，那里的藏品甚至更多。在虚拟平台上，跨越700年的画作似乎悬挂在一个开放的空间里，似乎悬挂在博物馆称之为“水晶画架”的玻璃板上，非常适合近距离观察。

But such wizardry may be beyond most galleries and artists. For Art Basel, Tracey Emin, a British artist at White Cube, exhibited a heartfelt demand spelled out in icyblue neon: “Move me” (pictured on previous page). At a distance, that is hard.

但这种魔力可能超出了大多数画廊和艺术家的能力。在巴塞尔艺术展上，白立方的英国艺术家特蕾西·埃明用冰蓝色的霓虹灯表达了一个发自内心的要求：“移动我”（前页图片）。如果在线则做不到如此。