博物馆展览
内在的远方,地平线之外
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展览海报

《AI SALI D'ARGENTO》

《AI SALI D'ARGENTO》

《AI SALI D'ARGENTO》

《AI SALI D'ARGENTO》

作品名称: 尺寸:

 

     

 

 

 

 

展览信息

内在的远方 地平线之外

 

开幕时间/Opening
      2017.03.31  下午3:00
      March  31st  2017, 3 pm

      展期/Duration
      2017.04.01—05.31

      主办/Organizers
      长沙市文化广电新闻出版局
      Changsha Municipal Bureau of Culture, Radio,Film, Television, Press and Publication
      湖南省谭国斌当代艺术博物馆
      Hunan Tan GuoBin Contemporary Art Museum
      常青画廊-圣吉米那诺/北京/穆琳/哈瓦那
      Galleria Continua-San  Gimignano/Beijing/les Moulins/ Habana

      协办/Co-organizers
      湖南省博物馆
      Hunan Provincial Museum
      湖南省文学艺术界联合会
      Hunan Federation of Literary and Art Circles
      长沙市博物馆
      Changsha Municipal Museum
      湖南省美术家协会
      Hunan Artists Association
      长沙市文学艺术界联合会
      Changsha Federation of Literary and Art Circles
      长沙美术馆

      展览地点/Location
      湖南省谭国斌当代艺术博物馆5楼

 

前言
绘画的眩晕

 

我感到需要用最直白的绘画语言来表达这个世界,需要用耐心并且永不能脱离手绘,手意味着图像最后残存的肉体性。我选择了石墨作为绘画工具和纸张作为绘画材料。
 
      在材料硬度的分级中,石墨处于低硬度材料。它的成分是碳,同位素性质的特点使其能够转变为材质最坚硬,外观最优雅华丽的物质:钻石。从狭义的地质学观点看,石墨与钻石构成了一种起始与结束,这不仅体现在硬度上,也体现在色彩上:石墨视深黑瑟,钻石则无色透明;即阴影与光明。作为绘画工具,石墨能够使我强调绘画的重叠属性,创造出不违背纯粹绘画本质的作品。从这个角度看,作品的物理结构应该被牢记:厚度、框架、玻璃外罩的缺失。这里展示的只有绘画,它是面向世界的窗户。
 
      我理性的眼光往我的内心看。与外界没有任何直接的联系。这里正在描述的是一种内在而非外在,即一种“心灵的风景”。用亨利•柏格森的话来讲,“体会内在认知的整过程”。比起泛滥成灾的作品,比起我们这个时代所特有的对图像的肆意吞噬,比起无休止的照片叠加以及图像压缩所导致永久的停滞,我更喜欢“古老同时代“画家异乎常理的姿态。 我所寻找的”观点“需要我们投身到自己的深度之中才能够找到;它能够使你接触到一种新的、绝对”性质的、运动的、完整的”(贝格森)真相,不受数字以及尺寸的束缚。
 
      这是通过自然的崇高,通过穿透我们的自身的广袤来表达的一种真相,它用它的伟大在我们身上留下不可磨灭的印迹。是那种闭上眼睛而非睁开眼睛才能够感知的巨大。通过隐喻的手法消除掉“扒开眼皮”的透视法,或者是在“翻转眼珠”(裴诺尼1970)中,我找到了眩晕的感觉,从而拥抱对世界最广大的认知。这是一种归结于“独眼巨人”的象征意义的体验,我们在其中能够辨识到属于内部心灵无限辽阔的踪迹,它与古罗马的文艺观点是如此的亲近。
 
      “概念艺术家们,与其说他们理性,还不如说他们神秘。他们得出的结论用逻辑是永远无法解释的。”可是,难道这不是索尔•列维特“观念艺术的审判”里的第一点吗?
 
      塞尔斯
      的里雅斯特,2015年2月

      The Dizziness of Drawing
 
      I feel the need to represent the world with the dry language of drawing. Patient drawing, never detached from manual ability, where the hand attests to the final residual corporality of the image. I chose graphite as a tool, paper as a support.
 
      Graphite occupies one of the lowest positions on the scale of hardness of materials; its composition is carbon, the allotropic properties of which transform its physical characteristics into the highest degree of hardness in the most precious and noble of forms: the diamond. From a purely geological point of view, graphite and diamond represent a kind of alpha and omega, not only in the values of hardness, but also on the scale of colour: dark black for graphite, colourless transparency for diamond; in other words, shadow and light. Graphite is the medium, which enables me to emphasise the tautological gesture of drawing and producing a work that does not lie about its nature as pure drawing. This is the perspective within which the physical structure of the work should be inscribed: no thickness, no frame, no protective glass. It is drawing alone that shows itself. It is the open window on the world.
 
      I direct my mind’s eye inward and the contact with the world is excluded. It is not an exterior but an interior that is being described, and thus a “landscape of the soul”. To use the words of Henri Bergson: “Experience inner verification in all its duration”. Rather than the omnipresence and bulimic swallowing up of images that distinguishes our age, rather than the permanent state of deadlock resulting from the incessant juxtaposition of shots and compression of icons, I prefer the unusual attitude of the painter of “ancient contemporaneity”. The “point of view” I go looking for is found in the practice of immersing oneself in our own depths; a point of view that brings you into contact with a new reality, totally “qualitative, mobile, undivided” (H. Bergson), which eludes the quantification of number and measurement.
 
      It is the “reality” expressed by the sublimity of nature, by the immeasurability that distinguishes it and traverses us, leaving in us the indelible signs of its immensity. It is the hugeness that does not regard the open eye, but the closed eye. I found dizziness by erasing perspective with the metaphorical gesture of “Tearing the eyelids”, or “Reversing one’s eyes” (G. Penone, 1970), so as to embrace the vision of the world in its maximum extension. An experience that attributes a symbolic sense to the “cyclopean”, within which we can recognize the traces of that inner immensity that pertains above all to the soul, so dear to Romantic poetics.
 
      “Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.” But is this not the first point in Sol LeWitt’s Sentences on Conceptual Art?
 
      Serse
      Trieste, February 2015

 

艺术家简介/Profile of Artist


      塞尔斯(生于圣波罗•帝皮亚威,意大利,1952)现生活和工作于里雅斯特。他执教于乌尔比诺学院。在漫长的艺术生涯中,他创作了一系列出色的作品,在菲登出版社发行的《绘画》一书中占有一席之地。塞尔斯的作品曾在许多重要的美术馆展出,包括法国圣艾提安现当代美术馆、蓬皮杜艺术中心、法国国家现代艺术博物馆(2015);里米尼现当代美术馆(2012);法国贝桑松美术与考古博物馆(2010);米兰王宫(2007);比利时梅赫伦文化仓库(2006);第三届西班牙瓦伦西亚双年展(2005);克德罗弋博曼宁当代艺术中心(2004);比利时根特S.M.A.K.画廊(2004);荷兰Het Domein美术馆(2003);墨西哥鲁菲诺 • 塔马约博物馆(2002);普拉托Luigi Pecci当代艺术中心(2002);葡萄牙里斯本底夫索艺术中心(2000);德国奥格斯堡艺术协会(2000)等。塞尔斯于中国的首次亮相,是在北京常青画廊的群展“静像:意大利当代绘画”上。2015年,艺术家在常青画廊北京空间举办了个展“极目之远”。

      Serse (San Polo di Piave, Italy, 1952) lives and works in Trieste. He teaches drawing at the Academy in Urbino. Over the years he has produced an extraordinary series of images, which have earned him a place in "Drawing", published by the Phaidon Press. He has shown in many important national and international galleries, including: Musée d’art Moderne et Contemporaine de Saint-Etienne Métropole, Centre Pompidou, Musée National d’Art Moderne, Paris, France (2015); Museo d’Arte Moderna e Contemporanea, Rimini (2012); Musée des beaux arts et d’archeologie de Besancon, France (2010); Palazzo Reale, Milan (2007); De Garage Cultuurcentrum, Mechelen, Belgium (2006); 3rd Valencia Biennale, Spain (2005); Villa Manin–Centro d’Arte Contemporanea, Codroipo (2004); S.M.A.K., Gent, Belgium (2004); Het Domein, Sittard, Holland (2003); Museo Rufino Tamayo, Mexico City, Mexico (2002); Centro per l’Arte Contemporanea Luigi Pecci, Prato (2002); Centro Difusor de Arte, Lisbon, Portugal (2000); Kunstverein Augsburg, Germany (2000). Serse first showed in China at the "STILL IMAGE: Contemporary Italian Painting exhibition" at Galleria Continua / Beijing. In 2015, Galleria Continua Beijing also hosted his solo show titled "As Far As the Eye Can See”.


      此次展览将展出艺术家作品80幅,欢迎参观。
      The exhibition will display 80 works of artist. Welcome to visit!

 

 

 

 

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