人 l 痴迷东方艺术的荷兰生物学家展览,就在这个伦敦市中心的私人美术馆里

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艺术是人类共有财产,所以我们选择free

艺术收藏投资家 Stefano Cortesi 于2013年创建了 Cortesi Gallery,专注于收集60年代至今的欧洲艺术运动的作品。这家英伦建筑风格的私人美术馆藏匿于伦敦SOHO区的小街道中,若不是特意造访,很难发现这里有一方艺术的精神世界。而身为伦敦众多私人美术馆之一,尽管位于市中心黄金位置,Cortesi Gallery仍然选择免费向所有大众开放,让人人都能近距离欣赏艺术。

The Los Angeles in “Blade Runner 2049”

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that was


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痴迷于东方精神主义的大胡子

尽管说 Cortesi 主要收集近代欧洲艺术的作品,但艺术家们的创作灵感来自于全世界。这位来自荷兰,蓄着圣诞老人同款大胡子的艺术家 Herman de Vries 生于1931年,创作理念深受日本禅宗(Zen Buddhism)和道教(Taosim)的影响。这种东方精神主义,在他的年代被视为欧洲主观性与感性泛滥的解药,曾经成为热捧一时的理论。

这次的展览回顾了他艺术生涯中重要的几个创作阶段,也记录了他对人类、自然、生命这些课题的探索与思考过程。

The Los Angeles in “Blade Runner 2049”

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that was

The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that was


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万象生于此,万象灭其中

Herman de Vries早期在一场名为ZERO的国际化艺术运动中逐渐摸索出了适合他的创作方式,。ZERO原指一个万籁俱静而充满新开始可能性的空间,也是这场艺术运动的“形象代言”。它的主导观念认为艺术应当“摒弃色彩,淡化情感并放弃个人表达”,因此成为了呼应抽象表现主义的一场自然至上的艺术大潮。

The Los Angeles in “Blade Runner 2049”

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”


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一场探索生命奥秘的旅程

1950至1960年间,Herman de Vries 一直在摸索一种极简与质朴的表达,尝试用艺术性的创造“再现”生命历程。身为一名艺术家,Herman de Vries 也对发明创造、材料创新和语言文学研究都颇有研究,这让他的作品中不乏学科交融的痕迹。艺术、科学、哲学相互编织交错,无时无刻不影响着我们的生活。这个展览不仅意在表达这种概念上的复合性,也借此传递艺术家个体的强烈感官印象,与卓越的生理、心理体验。

1970年代中期始,Herman de Vries开始关注自然材料、自然过程和自然现象,且将它们视为人类生存的基础物理证明。从那以后,他日复一日,年复一年地收集、整理、归类并展示这些自然与文化的碎片,试图唤醒人们对和谐一体化oneness)以及万象的感知。

许多出展作品由有机材料(例如泥土)构成:叶片、花瓣、植物、石子、灰尘、木头、碳石。这些有机材质来源于世界各地。最初 Herman de vries 只是在旅途中有收集的癖好,却日渐着迷,以至于后来在德国家中创造并完善了一整个生态园,专门用于研究这些自然元素之间的关系,提供创作的灵感。

The Los Angeles in “Blade Runner 2049”

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that was

The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that wasThe intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that was

The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that wasThe intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,” harsher and more brutal than the Los Angeles that was


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“她”本来就很美

踏进美术馆的瞬间,一丝甜味窜入鼻腔。在这个密闭空间中,满满一摊大马士革玫瑰花苞覆满了地面。成百上千的小小花骨朵,由中心向四周绵绵地沁出诗一般的玫瑰色芬芳,给人以印象深刻的嗅视觉冲击。穿行于艺术家的作品之间,仿佛舒展了一张反复折叠的精美信笺,所有的感知被逐步唤醒,视觉、嗅觉和理念上的多重刺激,都指向非同一般的感受巅峰。

泥土,作为代表不同地区的自然标签,也是艺术家使用的标志性元素。它们不仅成为了多元文化的回声,也是这个世界原始色彩层次的最为自然的颜料。

“Blade Runner 2049”

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”

structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”

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与这些自然元素构成的作品一并展出的还有“语言”本身。作为艺术作品的核心元素之一,语言既富有视觉化又兼具传统。单独挑出一个富有深意的词将之无限重复,像是在加深某种烙印,又像是在通过这些无意义的过程来消除这个词所携带的内在含义。这些词的选择也并非完全随性的,而是一定程度上反映了“我们于这个世界的存在”。改变 “change”、无尽 “endless”、 快乐 “happy ”都是用于理解艺术家创作理念的关键词汇,基于“确定与不定”,“构建与摧毁”之间的辩证法,构建性的元素与自由表达。

Herman de Vries 同时作为生物学家和自然科学家,认为自然的过程不是理性的定义可以翻译或解释的。他所有的作品都倾向于一种对生命意义停滞而富有诗意的交互,聚焦自然与文化间的关系,并探讨这两者如何在生活中互相影响。

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”

structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s


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这样的理念贯穿每一件作品且导向主题——美的归途 The Return of Beauty 。艺术家记录一系列人为制品,它们或是从未被使用或是已不再具有原先的功能性,直到置于大自然中再一次成为自然过程的一部分:这是一场再次发现美的本质的旅程,是对美的回归的邀请,是生命置于自然和人力之间痕迹的追寻。

 

随机或整齐地被码在画框中的秋叶,如同植物标本。可当细细读过标题之后,却完全衍出了另一种意境:阳光明媚的午后,一株樱桃树下,一个大胡子艺术家正细致地将落下的枯叶一片片拾起,细心地保存起来。裱在画框中的是枯叶,是樱桃树存在的印证,更是艺术家的一段生命——1979年某个秋日午后金黄色的几个小时。

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”

structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s

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一只曾被无心丢弃于街道上的易拉罐,几缕撕烂的海报残片,若干年后,被一个大胡子捡起压平,细心地裱在镜框中。虽然是静物,却将我们的思绪拉回艺术家与这些物件相遇的时刻。物品所承载的时间,印记,都远不仅限于物件本身。一处锈迹,可以推测出一段被雨水浸泡的时光;一方凹痕,可以回忆起一缕卡车碾过的绝尘。

自然本就很美,人们所谓的创造,所描绘的美,对于自然来说,倒显得有些刻意而失真。而我们,一粒粒扬起又转瞬而逝的尘埃,那瞬息的存在,甚至拗不过她生命的亿万分之一。回归生命的本质,或许是我们最好的选择。

The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerous levels, the sky is dark and foreboding, and the skyline is dotted with ominous supertall structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”

structures. The intended effect, according to Dennis Gassner, the film’s production designer, was to depict a “double dystopia,”The Los Angeles in “Blade Runner 2049” is, to put it bluntly, a grim depiction of the city. The sea has risen to dangerou


美术馆地址:
41 & 43, Maddox St London
W1S 2PD

展览时间:
2017年9月19日 - 2017 年11月18日

开馆时间:
周一至周五 
10:00 a.m – 6:00p.m


周六
2:00 p.m – 6:00p.m

Cortesi Gallery所有展览均免费