常青画廊北京启动“Cont-IN-ua”计划，首展巴西艺术家安德烈·小松 André Komatsu：骤然日落
ANDRE KOMATSU
安德烈·小松
When the Sun Falls Down
骤然日落
开幕式：2017年12月14日
北京常青画廊很高兴宣布将启动“Cont-IN-ua”计划，新空间将致力于向特殊艺术项目的延伸及发掘。首展将呈现代表巴西最具潜力和新锐艺术家之一的安德烈·小松个展。
Galleria Continua / Beijing is happy to inaugurate Cont-‐IN-‐ua project, a new space dedicated to side-‐ exhibtions and special projects, with the solo show of one of the most promising artist from the Brasilian art scene André Komatsu.
权力与其瓦解的并存是安德烈·小松艺术创作的主要关注点。他的装置在充满颠覆性的同时又具有诗意，其灵感来自于对城市中日常生活的观察。小松采取了一种大胆的、战略性的干预手法，将这些观察以视觉上简化的方式重新构造，从而获得一种充满讽刺意味的、对作品自身的破坏。他作品中的“重构”手法代表了对权力结构的反思，而这种建立在命令和强力上的权力结构，会被自身转化中的细微末节而“摧毁”。小松用来表达草根阶级的政治愿景的工具，是绘画、雕塑和装置，充满了张力和抵抗力。他的研究也令人联想到城市和身体之间的相似之处：同样短暂无常，并最终走向消逝。像个螺旋遇到物质性的困难和/或法律上的障碍。他的创作对人类循环生存的不同形式进行了叩问——人们处理城市空间的方式，以及人们对待既定权力的方式。小松在作品中强调事物瞬息万变的状态，为观众创造出体验不同节奏和速度的可能性。他作品转化的周期，揭示了对物件的使用和磨损所体现的主观时间，这达到一种完全的失败，从而建立了一个充满紧张感的空间。
▲ Febre do Ouro，2014年常青画廊圣吉米那诺展览现场。2014，Exhibition view of GALLERIA CONTINUA-San Gimignano.
The duality between power and its subversion is an inherent part of André Komatsu's artistic practice. His installations are both subversive and poetic, drawing from everyday observations made in an urban context. Komatsu reconstructs these observations in a visually purified manner, with bold strategic interventions that lead to an ironic undermining of the transformed construction itself. The reconstructions are reflections on power structures that build on order and strength and will become "ruined" by the details of their own transformation. His tools for communicating a political vision from below, made of tension and resistance, are drawing, sculpture and installation. Komatsu’s research also creates parallels between the city and the body, both impermanent and subject to disintegration. It is a spiral going through physical and/or legal obstacles. It is about questioning the different forms of man's iteration, the way that we handle the urban space and the way that we handle established powers. Komatsu underlines the transitory state of things and creates the possibility of understanding different rhythms and speeds. Carrying out a cycle of transformation that reveals subjective times of use and wear, reaching up to the point of total failure and thus establishing the creation of a space of tension.
▲ Status Quo，2015年威尼斯双年展展览现场。铁条，镀锌铁皮，塑料帆布，铁钩/ 尺寸可变 2015 / Iron bars, galvanized steel grail,plastic canvas, and steel grab / variable dimension.
在北京的首次个展中，小松以“骤然日落”为题，艺术家如常地使用生活物件作为比喻工具，创造出诗意的情境，引出政治上的话题。一个以太阳的历史形象出现的象征性符号，代表着无所不在、无所不能的权力。“太阳”是象征理性的存在。当帝国殒落，现实的确定性变得模糊，而这种失败则可能转变为一种重新考量现状的方式。
In his first solo show in Beijing, Komatsu presents,“When the Sun Falls Down”. The artist uses metaphors composed of common elements used in his career, creating poetic situations, to bring forth political questions. A symbology of the sun looking to its representation in history, as a symbol of the omnipresent and omnipotent nature of power. The “sun” as the presence of reason. The empire falls, the certainty of reality turns to a blur, and this failure could transform into a way to rethink the status quo.
《阶级的底层》（Base Hierárquica）是艺术家近几年在不同国家实施的一件装置作品。每一次，它都由日常用的玻璃器皿、精致的水晶酒杯和当地的建筑材料搭建而成。该作品由一组水泥块堆积而成，艺术家用中国很常见的玻璃杯撑起它们的重量；近处，一个破碎的酒杯证明了这种“优雅姿态”的脆弱性。
Base Hierárquica is a work that has been installed by the artist in various countries over the last few years, each time using glasses or cups from everyday life, sophisticated crystal wine glasses and building materials readily available locally. In our context, for the Beijing project, the work consists of a series of blocks of cement and bricks piled on top of one another, and resting on typical solid Chinese cups that are capable of sustaining the weight; close by, a shattered crystal wine glass attests to the fragility of its elegance.
系列作品《解构现实》（Realidade perecível） 是以由覆盖着混凝土的铁丝网制成，混凝土涂漆后固定在铁丝网上，而后横向固定在墙面。艺术家的行为使混凝土层已开始纷纷破裂，呈现出网的结构。这个过程暗喻了符号元素与文字的建构与解构间的并存。这些展出的物件和词汇都带着自身的宣言：当被操纵时，它们的稳定性被削弱、质疑，并时刻面临一个聚合和瓦解的过程。静态作品的完整性被动态置于危险之中，它是对文字、图像、帝国、意识形态的基础和确定性的瓦解。
The series Realidade perecível were made with a construction net covered with concrete, which is painted, varnished, and laterally fixed onto a wall. The artist’s action with the concrete layer starts to break of its own accord, showing the structural construction net of the work. The process mirrors the coexistence of the construction and the deconstruction of elements of symbols and words.These forms and words already presented carry within themselves statements that, when manipulated, have their stability weakened, doubted, and exposed to a process of aggregation and disintegration. The integrity of the work at rest is put at risk by movement, it is words, images, empires, conceptual bases and certainties in being dismantled.
▲ 解构现实 #12 Realidade perecível #12, 2017 / 钢丝网、钢、螺丝、水基漆、水泥面清漆 / 200 x 200 x 3 cm（大约） 2017 / steel net,steel, screws, water base paint and varnish on concrete/ 200 x 200 x 3 cm (aprox..).
《幽灵》(Fantasma)是小松近年来新做的一组作品。他用常见的钢丝网和塑料布，创造出一个假的栅栏——绝妙的控制人的工具，并以简单的塑料布覆盖其上。同时，一盏灯烧焦了塑料布，暴露出栅栏的存在。这是对安全性和社会、对社会等级和控制空想的有力质问。而从形式上来说，该作品的外观和尺寸，借鉴了巴西现代主义建筑的严谨几何图式和激进建构主义，这种审美来自于艺术家的文化背景。
Fantasma is a new series of works that Komatsu has been developing since last year. Using a common steel net and plastic sheets, the artist creates a kind of camouflage fence, the control element par excellence, using basic plastic coverage. At the same time, a lamp burns the plastic and exposes the presence of the fence. It is a powerful refelction on security and society, on hierarchies and the illusion of control. Formally the shape and the size of the works that belong to this series take up the rigourous geometry of Brazilian modernist architecture and radical constructivism, well rooted in the cultural background of the artist.
▲ 幽灵 #7 Fantasma #7 , 2017 / 铁、清漆、镀锌板、塑料帆布、胶、电线、霓虹灯 / 250 x 600 x 25 cm（大约）2017/ Iron, varnish, steelgalvanized grail, plastic canvas, glue, eletric wire, neon / 250 x 600 x 25 cm ( aprox..).
安德烈·小松说到：“在我的作品中，我试图把‘对世界的讨论’置于艺术讨论的中心。我在创造一些途径来讨论‘方法’”。
“With my work, I'm trying to bring back world discussion to the centre of art discussion. I am creating some artifices to discuss artifice," Komatsu says.
关于艺术家 About Artist
安德烈·小松于1978年生于巴西圣保罗市——这也是他现在生活和工作的地方。他曾参加诸多重要群展：2015年，第56届威尼斯双年展巴西馆，威尼斯，意大利；2014年，“超场域”，布朗克斯博物馆，纽约；2013年，“盲区”，克兰纳特艺术博物馆，伊利诺斯州厄巴纳，美国。2012年，“Sex- tanisquatsi——宜居的混乱”，X蒙特雷双年展，马尔科当代艺术博物馆, 蒙特雷，墨西哥；圣胡安和加勒比光图三年展， 圣胡安，波多黎各；2011年，第八届南方共同市场双年展， 波尔图阿雷格里港，巴西。“逍遥学派：拉丁美洲巡游绘画——画室”，MIMA，共和国银行艺术博物馆，伦敦，英国。“El Ranchito”，帕洛阿托，西班牙马德里；2010年，“建构的目的”，MUSAC，莱昂，西班牙。2010年他举办了两次个展：“真实计划”，巴西圣保罗红画廊；“确切/定期”，法国巴黎娜塔莉·赛尔罗斯画廊。
André Komatsu was born in 1978 in São Paulo, where he currently lives and works. He has participated in several important group exhibitions: In 2015, 56th Esposizione Internazionale d'Arte, Brazilian Pavilion, Venice, Italy. In 2014, “Beyond the Supersquare”, Bronx Museum, New York, US. In 2013, “Blind Field”, Krannert art museum, Urbana, Illinois, US. In 2012, “Sex-‐tanisquatsi – Desorden habitable”, X Monterrey Biennial, MARCO Museum of contemporary art, Monterrey, Mexico; Triennale Poli / gráfica de San Juan y El Caribe, San Juan, Puerto Rico. In 2011, 8th Mercosul Biennial, Porto Alegre-‐RS, Brazil; “The Peripatetic School: Itinerant drawing from Latin America – Drawing Room”, MIMA, Museo De Arte Del Banco De La Republica, London, UK; “El Ranchito”, Matadero, Madrid, Spain. In 2010, “Para ser construídos”, MUSAC, Leon, Spain. In 2010, he had two solos shows: “Acaso por intenção”, Vermelho gallery, São Paulo, SP, Brazil and “Concreto / Periódico”, Natalie Seroussi gallery, Paris, France.
过往作品 Previous Works
▲ AK – 47
2009年/ 砖块，水泥，铸铁，塑料，建筑截断和乳胶漆涂料/ 约350 x 350 x 100 厘米
2009 /brick, concrete, iron, plaster, fragments construction and latex paint / 350 x350 x 100 cm (approx.)
▲ Basehierarquica ( italia)
2011-2014年 / 常见玻璃杯，砖块和水晶碗 / 47 x 30 x 30 厘米
2011-2014 / Popular glass, brick and crystal bowl / 47 x30 x 30 cm
▲ Ato de ... 5
2014年 / 木，喷漆，玻璃，泡沫板，铁钉和塑料胶带 / 194 x 300x 5 厘米
2014/ wood, spray paint, glass, foam board, iron nail and plastic adhesive tape /194 x300 x 5 cm
▲ Campo Aberto 2
2013年 / 木，丙烯涂料/ 尺寸可变
2013 / Wood, acrylic paint / variabledimension.
▲ Sem título ( Porta ) da serie Embutido
2005年 / 木头上用圆珠笔 / 117 x 62 x 4 厘米
2005 / Ballpen on wood / 117 x62 x 4 cm
▲ Racionalidade Gradual
2014年 / 8个不同大小的钢链和钉子 /8 x 200 x 200 厘米
2014 / 8 diferents sizes of steel chains andnails / 8 x 200 x 200 cm
▲ Pontode deriva
2011年 / 铝，镀锌钢管，水泥，铁，镀锌铁皮，静电涂料和合成树脂瓷漆/ 330 x 60 x 60 厘米
2011 / aluminum, galvanized steel pipe,concrete, iron, galvanized steel plate, electrostatic paint and syntheticenamel paint / 330 x 60 x 60 cm
▲ Educação Basica 9
2015年 / 废弃沙袋，水泥砖，碎石，A4纸/ 约10 x 50 x 120 厘米
2015 / Used sandbags , concrete block, gravel,A4 paper / 10 x 50 x 120 cm (Approx)
▲ Disseminação concreta
2006年/ 碎石和衣物 / 尺寸可变
2006 / Gravel and clothes / Variable dimension
安德烈 · 小松 André Komatsu 参展民生美术馆中巴当代艺术展“对流” TROPOSPHERE
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