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路由艺术 Nunu fine arts:【卡斯帕尔・波恩】《

发布时间:2020-05-29作者: 阅读:(442)

路由艺术 Nunu fine arts【卡斯帕尔・波恩】《找一个休息的地方》路由艺术 Nunu fine arts:【卡斯帕尔・波恩】《
    展期

    日期:2019-05-03 ~ 2019-06-30

    地点

    台北市中正区金山南路一段67巷5号1楼

      展览 |找一个休息的地方
      展期|~6月30日
      艺术家|卡斯帕尔・波恩

      Exhibition|Looking For A Place To Sleep
      Duration|May 3 - June 30, 2019
      Artist|Kaspar Bonnén
      「卡斯帕尔·波恩描绘空间」,一句简洁有力的话语, 成为直指艺术家作品内涵的精确导引。1990年代中期以来,艺术家兼作家卡斯帕尔·波恩透过他的绘画、雕塑、摄影等视觉艺术创作与诗歌作品,来表达其对自身与空间之间的关注。就是基于这样的艺术实践,让波恩成为1990年代丹麦绘画复兴中的指标人物。

      当波恩描绘记忆中的空间时,与此同时也在描绘着其经验,即当记忆发生时对该空间的感知。想要进入这些空间需要一些时间;无论画作是带着平滑而轻薄的笔触,还是夸张式的厚重涂抹,都使人们无法立即解读这些空间。这不仅仅是因为波恩早已捨弃了严谨空间结构里的传统中心视角,也因为画作的背景和前景时常重叠,使其间的区别如厚涂画一般暧昧不明、难以辨析。乍看起来,它们几乎是全然抽象的,就像闪烁的色彩、如同分割的图案而非物件。然而当我们凝视许久,他所描绘的空间便逐渐拉出深度,各个物体也开始呈现出其形状。因此,观察波恩的画作需要时间,也正基于这种对画作立即可读性的抗拒,时间与时间的流逝彷彿都被绘製于其中。或许也可以说,波恩并不把空间画成一个具体或可衡量的地方,而是具有时间性的物质体验;这些得以被感知、生活、经验、记忆和重访的空间、与其间的置换交错,都被纪录在波恩的画作中。

      当我们看波恩的作品时,我们看到的不仅是艺术家的家,也不是仅作为物理空间的客厅,它同时也是一个居住空间。在这一层面,他的作品已然不止于即时性和亲密性,更是日常生活里的平凡与诗意。此外,它们也关係着观察者的感知,挑战了从多维表面到三维空间的转换;更关乎着如何传达身体经验,以及如何将回忆于视觉上呈现。这一切,都使得波恩那些虽以自己为参照的画作不再只是紧扣自身、不会太过个人而无顾于他者,而是远远超越了个人。

      卡斯帕尔·波恩个展《找一个休息的地方》将于五月三日 下午七点十五分开幕,路由艺术在此邀请各位一同共襄盛举!

      Kaspar Bonnén paints spaces. That could be the introductory statement; brief, but precise and to the point. For since the middle of the 1990s, the visual artist and writer Kaspar Bonnén has concerned himself with spaces, both in his poetry and, in particular, in his visual art, which besides painting also includes sculpture and photography. It is against the background of this artistic practice that Bonnén now stands as one of the most significant figures in the renewal of Danish painting which took place in the 1990s.

      When Bonnén paints the remembered space, he also paints that which is experienced, the sensory perception of the space in which the remembered occurs. Entering them takes time, for whether the painting is the smooth type with the paint added in thin layers, or the more pastose variety, dominated by the exaggerated tactility of the brushstrokes, neither the space nor the perspective is immediately readable. And this is not just because Bonnén has long since abandoned the classic central perspective with its stringent spatial constructions, but also because the background and the foreground of the pictures often overlap; indeed, the distinction sometimes dissolves, as in the pastose paintings. It is at any rate difficult to determine what lies in the background and in the foreground of the pictures.At first glancetheycan thus seem almost entirely abstract, like shimmering colours – more of a motif in dissolution than creation. When you have gazed for a sufficiently long time, however, the spaces portrayed acquire depth, and the individual objects take on shape and form. Observing Bonnén's paintings thus takes time. Indeed, it almost seems as though time and the passage of time are painted into the paintings, inasmuch as they resist immediate readability. One is thus tempted to claim that Bonnén does not portray a space as a concrete or measurable place, but rather as a chronological and bodily experience. Hence the plurality, and hence the many spaces–because these are spaces as they are both sensed, lived, experienced, remembered and revisited; because these, and the displacements between them, are what he paints.

      When we regard Bonnén's work, we are not merely in the artist's home; not just in the living-room as a physical space, but also as a lived space: the living-room as condition. In this respect his works are not just about the immediate and intimate, about the banal poetic aspects of the daily routine. They are also about the observer's perceptions, and about the fundamental challenge that lies in turning a multidimensional surface into a three-dimensional space. About how to communicate a bodily experience, and how to give visual form to a recollection. All of which extends beyond the personal context and ensures that his painting, despite the private references, is never hermetically closed in upon itself, never so personal that it does not also concern you as a person. In this sense, while he is painting his own private spaces, he is also painting yours.

      The opening of Kaspar Bonnén solo exhibition "Looking For A Place To Sleep" will be held on May 3 (Fri.) 7:15 P.M.We sincerely invite you to come and enjoy a wonderful night with us!

      |文章改编自「空间中的空间」–Kaspar Bonnén的绘画方法, Camilla Jalving, 2006

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