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桑迪亚哥·达涅兹:“恰似考古的绘画” 白盒子首展圆满开幕

中国艺术现场
07-17 20:54
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艺术家:桑迪亚哥·达涅兹

Artist:Santiago Ydañez

策展人:苏珊娜·桑斯

Curator:Susana Sanz

展期:2017.07.15 - 2017.08.08

Exhibition Dates:07. 15, 2017 - 08. 08, 2017

主办:白盒子艺术馆

Organizer:Whitebox Art Center

地址:北京市朝阳区酒仙桥路2号798艺术区797路B07

Address:B07, 797 Road, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing

7月15日,西班牙著名艺术家桑迪亚哥·达涅兹(Santiago Ydañez)在中国的首次个展——“恰似考古的绘画”在白盒子艺术馆拉开帷幕,展览由苏珊娜·桑斯博士(Dr. Susana Sanz)策划,呈现艺术家最新绘画作品23件以及现成品绘画14件,集中呈现了最近几年的艺术创作脉络,可以在达涅兹的作品中看到一层德国表现主义绘画、德国近代史和其复杂身份、以及并行不悖的意大利古典画等诸多层面的共存。

展开剩余93%

▲(从左至右):策展人苏珊娜·桑斯、艺术家桑迪亚哥·达涅兹、白盒子艺术馆馆长孙永增

▲(从左至右);蒋焕、孙永增馆长与段建伟

▲西班牙驻华大使 Manuel Valencia

▲桑迪亚哥·达涅兹、苍鑫(中)、苏珊娜·桑斯现场交流

▲孙永增与刘辉(左一)、吕山川(右一)展览现场交流

桑迪亚哥·达涅兹(Santiago Ydañez),1967年出生于西班牙哈恩(Jaén),目前在柏林和格拉纳达(西班牙)生活与工作。达涅兹毕业于格拉纳达大学艺术学院油画系,他是同代西班牙艺术家中最受国际瞩目的一位。达涅兹通过绘画来解剖人体或者动物的身体,他仿佛用画笔来制作标本。达涅兹的作品是一种从内外双向的标本制作,他通过层重叠再次发现和覆盖空虚。再一次,考古学的阶层想法在他的绘画中变得可看见,那是一种执念,执意要从绘画的表面解剖到绘画自身的内在。

▲现场作品展示

▲桑迪亚哥·达涅兹,卡拉瓦乔《圣彼得的受难》三联画,布面丙烯,2017

本次展览达涅兹运用三联画的形式重新展现了卡拉瓦乔的《圣彼得的受难》这幅存于罗马人民圣母教堂的作品:圣彼得似乎是以一种生硬的、重复的、因此残暴的暴力行为而牺牲的, 就好像它是电影中的序列或者是在观众的眼中倍增的光谱。在这种残酷的“永恒回归”中,我们看到画布的“蜕变”,从空白到充盈,黑白到色彩。为了证明最后的“蜕变”,画家提议是圣彼得的身体再受难之后成为了一具肉类内脏。

▲观众在展览现场参观

达涅兹的作品中多次出现赤裸的人体,尤其在现成品绘画中,我们并不能将这些裸体视为其艺术创作的理想形式,也无法忽略那些撼动着这些图像的内部细节的张力,再者,我们无法把这些与19世纪锋利刀叉共享空间的身体与其上的威胁分开。

▲主展厅

▲一楼东侧展厅

▲一楼西侧展厅

▲二楼展厅

本次展览由白盒子艺术馆和西班牙文化部共同主办,西东国际特别合作举办,展览将一直持续至2017年8月8日。

艺术家桑迪亚哥·达涅兹

▲桑迪亚哥·达涅兹与他的作品

桑迪亚哥·达涅兹(Santiago Ydañez),1967年出生于西班牙哈恩(Jaén),目前在柏林和格拉纳达(西班牙)生活与工作。达涅兹毕业于格拉纳达大学艺术学院油画系,他是同代西班牙艺术家中最受国际瞩目的一位。桑迪亚哥·达涅兹曾于2002年荣获普雷米奥绘画奖和由马德里储蓄银行资助的普雷米奥同代人绘画奖金;2001年,达涅兹获得了由西班牙文化部和巴黎西班牙贝卡学院提供的艺术家资助奖金;1998年获得Botín基金会奖金。达涅兹的作品目前已被多个国际艺术收藏系列收藏,其中包括:Botín基金会(桑坦德);索菲亚王后艺术中心(马德里);索菲亚·安贝美术馆(卡拉卡斯,委内瑞拉)等。他的作品也被墨西哥、加拿大、意大利、挪威、德国、葡萄牙和西班牙的多个私人艺术收藏系列收藏。

▲桑迪亚哥·达涅兹,乐趣的花园,布面丙烯,2017

长久以来,我们一直被告知艺术是有生与死的。约翰·约阿希姆·温克尔曼(Johann Joachim Winckelmann,1717-1768)以废墟(ruins)和遗迹(remains)的混合物,“创造”出了那具如今依旧被我们称之为“艺术史”的尸体。在西班牙画家桑迪亚哥·达涅兹为罗马西班牙皇家学院创作的作品《乐趣的花园》(The Garden of the Delights,2017)里,画面中的女孩垂头丧气的脸庞,被修整覆盖于罗马利维娅别墅的湿壁画上。前景中,女孩的凝视溢散出无限的感伤,这似乎映照了温克尔曼本人的黯然神伤——他的美学主张正基于由对理想往昔的不复和天堂的遗落所产生的忧郁情绪。

▲艺术家自画像

▲桑迪亚哥·达涅兹,卡拉瓦乔《圣彼得的受难》三联画,布面丙烯,2017

更准确地说,温克尔曼的著作《古代艺术史》(1764)是以对已死艺术的哀悼作为起点:即古典艺术。在对复兴古典的渴望中,模仿古代希腊艺术成为了我们唯一得以回归“伟大”的可能手段。然而,这理想艺术史在整个二十世纪中不断被搅动。

▲桑迪亚哥·达涅兹,无题, 布面丙烯,2011

阿比·瓦尔堡(Aby Warburg,1866-1929)便通过替换了温克尔曼基于生与死在生物学上的周期所提出的模式,处理了对理想艺术史的其中一次致命一击。他取而代之地提出了另一种有关图像史的“鬼魂般的”的模式,在此之中,图像通过遗存、回忆而非学院化的传播方式被加以表达。

▲桑迪亚哥·达涅兹,无题,布面丙烯, 2014

达涅兹《乐趣的花园》中融合了达涅兹作品的多层意义,我们可以看到一层德国表现主义绘画、德国近代史和其复杂身份、以及并行不悖的意大利古典画等诸多层面的共存。如此这般,我们可以用一种个人的《记忆女神图谱》或者一张充满意外之喜的考古发掘地图来“阅读”达涅兹的作品。。

▲桑迪亚哥·达涅兹,无题, 布面丙烯,2017

达涅兹尝到了阿比·瓦尔堡用来比拟他缠结的、复杂的、未完成的工作方式的那碗鳗鱼汤(德语aalsuppenstil)。鳗鱼互相缠绕,就好像《拉奥孔和他的儿子们》中那些致命的蛇一样,同时展现着美与悲剧。阿波罗和狄奥尼索斯。对于瓦尔堡而言,西方文明的历史被其对立性所横穿切割。我们无法将达涅兹在他的“箱子”中描绘的裸体视为艺术的理想形式,也无法忽略那些撼动着这些图像的内部细节的张力,再者,我们无法把这些与19世纪锋利刀叉共享空间的身体与其上的威胁分开。

▲桑迪亚哥·达涅兹,无题,三联画,2017

厄洛斯(美)知晓他必死的命运(塔纳托斯)。“解剖” 意味着开放,而开放则意味着在撕破的同时创造更多的可能性。达涅兹的绘画即为可能性而开放的绘画,它解构了图像上的学科界限,将艺术史转化为一种完全的考古学现象,使异教的、虔信的、科学的痕迹相交并融。达涅兹的绘画是执念的绘画,它由残迹和遗存构建而成。毫无疑问地,在一次又一次的宣告死亡后,最伟大的遗存便是绘画艺术本身,它在桑迪亚哥·达涅兹快速涂抹的笔触中获得了一次又一次的重生。

▲桑迪亚哥·达涅兹,卡拉瓦乔《圣彼得的受难》三联画(局部),布面丙烯,2017

Santiago Ydañez: Painting as Archeology

Santiago Ydañez was born in Jaén, 1967. Lives and works in Berlín and Granada (Spain). Graduated in Painting from the School of Arts of Universidad of Granada, Ydañez is one of the most internationally recognized Spanish artists of his generation. Santiago Ydañez was awarded the Premio de Pintura ABC in 2002, Premio de Pintura Generación 2002 - Caja Madrid, Beca del Colegio de España in París - Ministerio de Cultura in 2001 and the Beca de la Fundación Marcelino Botín in 1998. Ydañez work is represented in several Institutional Art collections such as: Fundación Botín (Santander), Museo Nacional Centro de Arte Reina Sofía (Madrid), Museo Sofía Imber (Caracas, Venezuela), amongst others. He’s work is also represented in private colections in Mexico, Canada, Italy, Norway, Germany, Portugal and Spain.

For a long time we were told that art had a birth and a death. Johann Joachim Winckelmann (1717-1768) "invented" that corpus we still call "history of art" using a mixture of ruins and remains. In The Garden of the Delights (2017) painted by the Spanish painter Santiago Ydañez at the Royal Academy of Spain in Rome, the crestfallen face of a girl is trimmed over the frescoes of Villa Livia in Rome. The immense sadness that oozes her gaze in the foreground could be that of Winckelmann himself, whose doctrine is born of a feeling of melancholy for the loss of an ideal past, the lost of paradise. Precisely his work The History of art in Antiquity (1764) begins with the mourning for a dead art: the ancient art. And the desire for its return that makes the imitation of the ancients the only possibility we have left to return to "being great."However, that history of ideal and aesthetic art has been disturbed throughout the twentieth century. Aby Warburg (1866–1929) dealt one of the first fatal blows to that ideal art history by replacing the model based on the biological temporal stages of life and death. In exchange, he proposes another "ghostly" model of the history of images in which images are expressed by survival, reminiscence and not by academic transmission. The girl from Ydañez's Garden of Delights is one of the many layers of Ydañez's hybrid work, in which we recognize the stratum of German expressionist painting, the recent history of Germany and its complex identity, in coexistence with other strata like the original Italian painting. Thus, we could "read" the work of Ydañez as his particular Atlas Mnemosine or the map of an archaeological find woven by unexpected and obsessive returns.

Ydañez tastes the soup of eels (aalsuppenstil) with which Aby Warburg compared its own tangled, complex and unfinished way of work. These eels coil together like the deadly snakes on the body of Laocoon and his children that illustrates both beauty and tragedy. Apollo and Dionysus. For Warburg, the history of Western civilizations is traversed by this polarity. Impossible to contemplate the nudes painted by Ydañez in his "intervened boxes" as an ideal form of art. Impossible to ignore the tensions that shake the entrails of his images. Impossible to isolate them from the threat that looms over the flesh of those bodies that share space with sharp knives and axes of the nineteenth century. Eros (beauty) knows his deadly destiny (Thanatos). To dissect is to open. To open means to tear but also to create possibilities. Ydañez's painting is an open painting of possibilities, which deconstructs the disciplinary boundaries of the image and turns the history of art into a total archeological phenomenon where the traces of the paganism, the religious and the scientific converge. It is an obsessive painting, built of vestiges and survivals. Undoubtedly, and after so many announced deaths, the greatest survival is the art of painting itself that relives again and again under the speedy brush of Santiago Ydañez.

Santiago Ydañez: Painting as Archeology is the first solo exhibition of Santiago Ydañez in China, the exhibition is organized by Whitebox Art Center, The Ministry of culture of Spain and the Special cooperation of xd culture platform. The curator of the show is PhD. Susana Sanz.

艺术家:桑迪亚哥·达涅兹

Artist:Santiago Ydañez

策展人:苏珊娜·桑斯

Curator:Susana Sanz

展期:2017.07.15 - 2017.08.08

Exhibition Dates:07. 15, 2017 - 08. 08, 2017

主办:白盒子艺术馆

Organizer:Whitebox Art Center

地址:北京市朝阳区酒仙桥路2号798艺术区797路B07

Address:B07, 797 Road, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing

(素材致谢白盒子艺术馆)

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