SPEED, PLEASURE AND TECHNOLOGY
The motorcycle is a perfect metaphor for the 20th century. Invented at the beginning of the industrial age, its evolution tracks the main currents of modernity. The object and its history represent the themes of technology, engineering, innovation, design, mobility, speed, rebellion, desire, freedom, love, sex, and death. For much of society, the motorcycle remains a forbidden indulgence, an object of fascination, fantasy, and danger. As a practical machine whose history has been one of relentless improvements and design evolution, the motorcycle as a form class at the end of the 20th century embodies its own end-game paradox. Logic and physics suggest it has reached the end of its evolutionary potential, but somehow we know that cannot be completely true. As such, however, it is a quintessential symbol of the insecurity and optimism of our time. Thus, the exhibition Speed, Pleasure and Technology: The New Art of the Motorcycle explores the history of motorcycle design as an aesthetic, cultural, and technological object. It features over 120 motorcycles dating from 1868 to 2011, which together chronicle the most compelling moments in motorcycle design and technology. The history of the motorcycle describes the history and evolution of modern age.
From 1868-71, Louis Perreaux installed and patented a steam engine in the first commercially successful pedal bicycle; by 1894, the Hildebrand brothers and Alois Wolfmuller had patented a water-cooled, two-cylinder gasoline engine in a bicycle frame, the first commercially produced motorcycle with an internal-combustion engine. More than a product of the industrial revolution, the motorcycle quickly took on broader significance. Embodying the more abstract themes of speed, rebellion, progress, freedom, sex, and danger, the motorcycle has been immortalized as a cultural icon that has been transformed with the times. The limits imposed by the possible form and function of the motorcycle, and the breadth of variation that have been expressed within these limitations, provide a vehicle for examining the motorcycle as a possible metaphor for the 20th century.
The criteria for selecting and presenting the motorcycles are fairly straightforward. Except for the seven pre-production motorcycles that open the exhibition, the selection not only spans the century of motorcycle production that evolved from the first patented combination of steam engine and bicycle frame in 1868, but also the technological progress and the cultural, sociological, and economic factors that define and characterize the 20th century. In addition to these, marketing, the expectations and desires of consumers, and the ebb and flow of national economies are all manifested in the components and form of the motorcycle. The sheer number of types of motorcycles – production, studio-built one-offs, customized, sidecar additions, and the many categories of motorcycle racing – is vast. To extract a narrative from the array of functions and dictates that motorcycles represent, the choices have been refined to a group of singularly 20th century defining elements: technological innovation, design excellence and aesthetics, and social function. All of the motorcycles in the exhibition are a product of more than one of these criteria
1868到1871年间，路易·佩罗在第一辆取得商业成功的自行车上安装蒸汽发动机并注册专利；到1894年，希尔德勃朗兄弟和阿卢瓦· 沃尔夫穆勒在自行车架上安装了一个水冷式双缸内燃机引擎并注册专利，历史上第一辆带内燃机引擎的商用摩托车诞生。摩托车的意义很快超出工业革命范围，对社会产生了更广泛的影响力。作为速度、叛逆、进步、自由、性、危险等抽象概念的象征，摩托车变成了一种文化符号，随着时间流逝不断变换内涵。受自身形式和功能的限制，摩托车包含的可能性选项并非没有边界，但在此局限性上，却涌现了大 量不同的发明，这就提供了一个很好的角度，使我们可以将摩托车作为二十世纪的隐喻来加以审视。