作者：卡薩格蘭、林塔拉

地點(diǎn)：日本越后妻有

尺寸：長130米，寬5-15米，高5米

Author: Casagrande & Rintala, Finland

Site: Kuramata village by the Kamagawa River, Echigo-Tsumari, Japan

Dimensions: 130 m long, 5 — 15 m wide, 5 m high

2003日本大地藝術(shù)祭

對我來說，波將金是革命的起點(diǎn)。我將繼續(xù)在精神上依附波將金冥想之園，看看革命將領(lǐng)我走向何處。波將金正好矗立在現(xiàn)代人定義人類自己與自然界關(guān)系的十字路口。事實(shí)上，我們擁有身處科技世界中人類所需的實(shí)現(xiàn)可持續(xù)生存發(fā)展的一切工具，同樣地，我們手中也有著足以毀滅世界的工具。處在這樣的轉(zhuǎn)折點(diǎn)上，建筑師、藝術(shù)家、城市設(shè)計(jì)師、環(huán)境規(guī)劃師和人文主義者們必須認(rèn)清自己的位置和背負(fù)的責(zé)任。波將金是神圣的當(dāng)代雅典衛(wèi)城，是一座思考并維系現(xiàn)代人與大自然關(guān)系的后工業(yè)圣殿。我把它視為教化心靈的所在，在它的兩旁，一邊是古老的稻田與河流，另一邊是圣潔的日本神道教廟宇。

該公園建立在一個非法的垃圾場上。先穿著雪鞋在建筑場地上構(gòu)圖，雪融化后就按1：1比例建造出該公園景觀。下雪時越后妻有地區(qū)可能會有深達(dá)3米的積雪。

波將金是可回收的城市和工業(yè)垃圾抽象拼貼成的藝術(shù)之作，是后工業(yè)冥想的現(xiàn)代廢墟。廢墟是融入自然的人為建筑。一進(jìn)入公園，是一英寸厚的鐵制墻壁，它和地面保持相對高度，再往里走，地面一步步地下降，而墻壁則保持高度不變，所以感覺墻壁好像越來越高，似乎有5米多高。沿著伸展的墻壁，一叢叢老橡樹林，一系列戶外和室內(nèi)空間，內(nèi)部的小型寺廟和庭院一一映入眼簾，一路景色不斷，而終點(diǎn)就在流向山谷的河流。你可以在那里釣起一些香魚，并在河邊燒制，就在波將金吃完，再悠然自得地散步回家。

從抽象的精神層面看，鋼制的波將金廟一面連接著稻田，一面連接著老神道廟宇。有廟宇里的祠官為波將金后工業(yè)時代公園送上神圣祝福，現(xiàn)在在倉俁村，每晚仍有120名村民堅(jiān)持在波將金公園跳轉(zhuǎn)舞，這項(xiàng)傳統(tǒng)活動擁有400年的古老歷史：從封建時代起，這個村落就將之視為一種紀(jì)念英雄的儀式。閑暇之余，村民們可以在公園小禮堂的橡木長凳上閑坐片刻。

倉俁地區(qū)的傳統(tǒng)水稻種植村落正在消亡。村莊里年輕的一代多向東京新潟市或其它城市遷移，幾百年的傳統(tǒng)正在飛快地消失；這是基于人與自然和諧共存的一大傳統(tǒng)——使人融入自然，成為自然的一部分。波將金強(qiáng)調(diào)“當(dāng)?shù)刂R”，并通過建立現(xiàn)代廢墟重建希望。來自城里的游客常常睡在波將金后工業(yè)時代公園里，他們寫信告訴我說，在那里他們睡得很安神。

ECHIGO-TSUMARI ART TRIENNIAL JAPAN 2003

For me Potemkin is the starting point of revolution. I am continuing mentally attached with Potemkin and seeing where the revolution is taking me. Potemkin stands in the crossroads where the modern man has to define his relationship with the nature. We have all the tools needed for a sustainable solution of human existence in the technological world. Now we also have all the tools to destroy the world. Architects, artists, urban planners, environmental planners and humanists must find their position and responsibility in this turning point.Potemkin stands as an Acropolis to be the post industrial temple to think of the connection between the modern man and nature. I see Potemkin as a cultivated junk yard situated between the ancient rice fields and river with a straight axis to the Shinto temple.

The park is founded on an illegal garbage dump. The architecture was drawn on site in 1:1 scale on snow by walking the lines with snow-shoes and then built up when the snow melted.Echigo-Tsumari region may get 3 meters of snow.

The Potemkin is an artistically articulated collage of recycled urban and industrial waste, an industrial ruin for post-industrial meditation. Ruin is when man-made has become part of nature. As one enters the park the one inch thick steel walls are on the ground level, but while proceeding further the ground is descending, while the walls keep levelled and thus become 5 metes high. The wall system is framing a set of old oak trees and a series of outdoor and indoor spaces, smaller temples and courtyards with the final focus on the river down in the valley. River, where you may fish your ayu-fish, grill it and eat it up in Potemkin and go home.The steel temple Potemkin is spiritually connected to the old Shinto temple on the other side of the rice fields. The post industrial meditation park is blessed by the Shinto priest and the 120 Kuramata villagers are continuing now their 400 -year old tradition of every night circular dance in Potemkin. A community ritual memorizing a heroic act from the feudal times. All the village can sit on the small oak bench auditorium of the park.

The rice farming village of Kuramata is dying. The younger generations have moved to Nijgata, Tokyo and other cities and the traditions of hundreds of years are about to disappear very rapidly; traditions that are based on a harmonious co-existence between the man and nature - human nature as part of nature. Potemkin celebrates Local Knowledge and by providing an industrial ruin it is providing hope. Urban visitors are often sleeping in Potemkin and they are writing to me that they slept good.