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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.
但并不是所有的藝術(shù)家、畫(huà)廊和形式都在這個(gè)另類的展覽會(huì)上表現(xiàn)出同等優(yōu)勢(shì)。雕塑或概念藝術(shù)并不包括在內(nèi)。一些微妙的作品，比如盧卡斯·阿魯達(dá)的印象主義沙漠風(fēng)景，當(dāng)你在現(xiàn)實(shí)生活中看到它們時(shí)，它們似乎是一種情緒或一種精神狀態(tài)，而當(dāng)你從遠(yuǎn)處看它們時(shí)，幾乎沒(méi)有影響。
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.
除了深度和質(zhì)感之外，逛畫(huà)廊還有一些網(wǎng)站不太可能復(fù)制的方面。一種是“意外發(fā)現(xiàn)”，即在藝術(shù)品之間徘徊，遇到意想不到的東西。另一種是社交能力。藝術(shù)是藝術(shù)家和觀眾之間的交流，但畫(huà)廊和博覽會(huì)也是交換意見(jiàn)和分享熱情的地方。
There are ways to compensate for these inevitable deficiencies. As they shut their physical doors, some of the world’s finest galleries and museums are offering 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 magnificent “Night Watch”, far more closely than would normally be possible. Another standout offering is from the Museu de Arte de São 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.
有一些方法可以彌補(bǔ)這些不可避免的缺陷。一些世界上最好的畫(huà)廊和博物館在關(guān)閉實(shí)體館的同時(shí)，還提供了令人眼花繚亂的互動(dòng)參觀、360度全景視頻和藏品巡展，所有這些都不用排隊(duì)，也不用支付高昂的門票。其中最好的是阿姆斯特丹國(guó)立博物館舉辦的；游客們可以近距離觀賞維米爾和倫勃朗的作品，包括宏偉的《守夜人》。另一件引人注目的展品來(lái)自圣保羅藝術(shù)博物館，那里的藏品甚至更多。在虛擬平臺(tái)上，跨越700年的畫(huà)作似乎懸掛在一個(gè)開(kāi)放的空間里，似乎懸掛在博物館稱之為“水晶畫(huà)架”的玻璃板上，非常適合近距離觀察。
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.
但這種魔力可能超出了大多數(shù)畫(huà)廊和藝術(shù)家的能力。在巴塞爾藝術(shù)展上，白立方的英國(guó)藝術(shù)家特蕾西·埃明用冰藍(lán)色的霓虹燈表達(dá)了一個(gè)發(fā)自內(nèi)心的要求：“移動(dòng)我”（前頁(yè)圖片）。如果在線則做不到如此。
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