(寫於2012年秋，本文刊登在RMM雜誌 2012.11.29)
Camille Henrot的花卉藝術（Art floral）靈感來自日本的花道(生け花,ikebana)，花道在古日本有兩種面向，其有安慰功能；同時還有語言功能。Henrot覺得這樣的功能跟書是一樣的。在她參加2012巴黎三年展的作品「有可能同時反叛又愛花朵嗎？」（Est-il possible d’être révolutionnaire et d’aimer les fleurs）系列作品中，每一件作品名稱都來自於一本書的書名，其中一件來自羅蘭巴特耳熟能祥的「戀人絮語」（Fragments d’un discours amoureux）（圖一）。是由兩個鳳梨和一朵雞冠花組成。我最喜歡的其中一件是惹內（Jean Genet）的「竊賊日記」（Journal du Voleur）（圖二），而且這本書有一個很符合Henrot作品的中文譯名：「繁花聖母」。也因此我特別喜歡這件！所以我瞭解她把花抽離花瓶，放在花瓶上的用意。「竊賊日記」是惹內的半自傳小說，他從小被人遺棄，漂泊浪蕩，一生中長時間在監獄度過，若我這樣解釋：惹內是孤兒，從小沒有家，像失根的花兒，這樣的解釋實在太陳腔濫調了，這樣的隱喻太平庸了。於是我想以另外一種方法來解釋這本文學作品和藝術作品之間的關聯，惹內的放蕩不羈不被這個平凡的社會所接受，所以他像那朵花一樣被抽離放在花瓶上，他的不平凡使他被懸置在社會的上空，他像先知高高在上的睥睨這庸俗的世界。
Camille Henrot 用一束束花束代表她的圖書館中的每一本書，這個計劃將持續進行到 2013 年 4 月。
官方網站：http://www.camillehenrot.fr/en/work
（英文部分由RMM雜誌翻譯，感謝RMM雜誌）
Let The Flowers Tell Stories In Silence — Floral Art of Camille Henrot
As a female artist, what are the meaning and the use of flower to her?
Courting a girl is not the only use of flowers. Camille Henrot’s
delicate floral revolution brings what is ordinary in life into art and
exhibits it in a very feminist fashion.
Henrot’s Floral Art is inspired by “Ikebana” from Japan. In ancient
Japan, “Ikebana” has two dimensions: the consoling function and the
linguistic function. Henrot thinks that these functions have a
resemblance with those of books. She participated La Triennale Paris in
2012. In her series of work “Est-il possible d’être révolutionnaire et
d’aimer les fleurs (Is it possible of being revolutionary and loving the
flowers?)”, the name of every piece of work is a book title. One of her
works is Roland Barthes’ famous Fragments d’un discours amoureux (A Lover’s Discourse), composed of two pineapples and a cockscomb. Another work is Jean Genet’s Journal du Voleur (The
Thief’s Journal). This book has a Chinese translated title that fits
Henrot’s work very well: “繁花聖母”. We understand her purpose of taking the
flowers out from the vase, and then poising them flat on top of it. Journal du Voleur is
a semi-autobiography of Jean Genet. He was abandoned as a child, and
had been drifting around and had spent a long time in prison. If it is
put this way: Genet is an orphan, homeless in childhood, like a rootless
flower; this explication is just too cliché and metaphor too mediocre.
To convey the connection between a literary work and an art work, we
better put it in another way: The ordinary world cannot stand a person
like Genet, so uninhibited and loose as he is. That’s why he is like a
flower in Henrot’s work, detached from the vase and lies flat on top of
it. His being too extraordinary results in his being dangled in the air
above the whole society. Like a prophet, Genet is squinting at the
world askance from above.
Camille Henrot uses bunches of flowers to represent every book in her library. This project will be continued till April 2013.
（圖一）Fragmentsd’un discours amoureux,Est-il possible d’être révolutionnaire et d’aimer les fleurs ?2012, Courtesy : artiste and kamel mennour, Paris
（圖二）Journal du Voleur, Est-il possible d’être révolutionnaire et d’aimer les fleurs ?2012, Courtesy : artiste and kamel mennour, Paris
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