乔瓦尼·欧祖拉 Giovanni Ozzola 2017 全新个展"殒落之花——窃语" 即将揭幕
GIOVANNI OZZOLA
乔瓦尼·欧祖拉
Fallen Blossom - Whispering
殒落之花——窃语
开幕式：2017年12月14日
常青画廊很荣幸地带来乔瓦尼·欧祖拉在北京空间的第二次个展。
Galleria Continua is pleased to host the second solo exhibition in Beijing of Giovanni Ozzola.
欧祖拉的艺术创作往往涉猎多门学科；他的作品通过不同的感观和认知体验与观众产生互动。他将摄影、雕塑和视频装置以最纯粹的方式呈现给观众，并具有一种唤起人们情感记忆的能力。
Ozzola is a multidisciplinary artist; his work involves the public through diverse sensory and cognitive experiences. Photographic images, sculptural objects, and video installations are experienced by the viewer in their essential nature and express an ability to communicate with people’s emotional memory.
▲ 车库-沙漠-音景 Garage -Desert-Soundscape, 2013年常青画廊北京空间展览现场。2013年，三频影像装置，高清全屏，投影仪，音响系统，1分39秒。2013, 3 channels video installationl, full HD, projectors, audio system, 1’ 39’’. Installation view at Galleria Continua Beijing, 2013.
乔瓦尼·欧祖拉的作品展示了他永无止境的思索与观察。光的重要性使得每个瞬间都独一无二——无论存在或缺席，光都能展示或隐藏风景、物件或人。在欧祖拉的作品中，我们能见到反复出现的主题：时间、自然、渺小人类的悄然干预；呈现完美海景或波动沙漠的门窗、断墙和裂缝；多变天气造就的短暂景观如日落、远处的风暴、逼近的夜和雾霭；夜色中的河流、灌木和鲜花，被斑驳墙上的涂鸦覆盖的车库、地堡和废弃的房屋。光明与黑暗在这些别无他物的空间里无人知晓地存在或经过，成为它们的主角。这些建筑的“目光”孤独并沉默，它们看向外部，看向天空，看向大海，凝视着风…
The work of Giovanni Ozzola demonstrates the irrefutable signs of his endless research and observation. The importance of light, its presence or absence, as it reveals and hides landscapes, objects and (more rarely) people, enlightening the uniqueness of every instant. In his favourite subjects we recognize recurrent and cyclical themes: Time, Nature, and the furtive intervention of human beings; doors and windows, broken walls and cracks that open up to the view of a perfect intimidating seascape or the undulating motion of the desert. Sceneries at the mercy of temporary and transitory climates, such as: a sunset, a distant storm, the imminent approach of the night, and calima. Night visions of rivers, shrubs and flowers, garages, bunkers and wrecked houses covered by graffiti, tormented love messages on walls coloured by mould and lichens. Minimalist spaces where the Light and the Darkness are protagonists in a composition of essential elements, perhaps clandestinely present or passing by; buildings undergoing construction whose gaze is alone and silent whilst facing the outside, towards the sky, towards the sea, towards the wind...
▲ 车库-有时你可以看到更多 Garage - Sometimes You Can See Much More, 2009年单频彩色视频，有声 1分17秒 2009，Single channel colour video, audio 1’ 17”.
▲ 你和我 Solamente tu ed io, 2017年棉纸上艺术喷墨打印，铝塑板，150 x 216 厘米 2017, Glicée print on cotton paper, Dibond, 150 x 216 cm.
最后这个主题在欧祖拉此次北京个展的摄影作品中被重现。在一个建筑工地的场景中，裸露的混凝土结构使观众无法辨认其位置所在，但它朝外的窗户令人看到了北京的天际线。太阳即将落下，在它宣告黑暗的同时，城市的人造霓虹灯接管了原本黑色的天空。
This last theme reappears in the photographic works of Ozzola for his Beijing solo exhibition. A construction site in which the bare concrete structure does not allow the viewer to identify the location, but whose windows to the outside are a dizzying look onto a solid horizon, the Beijing skyline, just as the sun is about to set and it announces the darkness, and the artificial coloured lights of the city take over the otherwise dark sky.
▲ 再次失去你 Perderte otra vez 2017年，棉纸上艺术喷墨打印，铝塑板，150 x 230 厘米 2017 Glicée print on cotton paper, Dibond, 150 x 230 cm.
在系列作品《Vanitas》中，婉转的拍摄视角使花朵在夜间显得更神秘和感性；这也归功于艺术家使用的新材料——他的照片印在天鹅绒上，而不是纸上。这种自身会与光产生互动的材料，使被拍摄对象看起来更加戏剧化。该作品反射的光线会根据观者在房间中的位置而改变。“Vanitas”在绘画中指的是静物，是一种与不确定性及生命的瞬息万变特性密切相关的绘画流派（“虚空的虚空，凡事都是虚空”—— 《圣经·旧约·传道书》）。它是对我们存在的短暂状态的提示，而花则象征性地传递了这种信息。
In the series Vanitas the stealthy view of the camera lens on the flowers at night becomes even more mysterious and sensual through the introduction of a new material: the artist's photographs are imprinted on velvet rather than on paper. The choice to add an element that by its nature plays with light helps make even more dramatic the view of the subject. According to how the observer positions himself in the room the artworks’ light changes. In painting terms by Vanitas we mean a Still Life, a pictorial genre closely related to a sense of precariousness and the transience of life vanitas vanitatum et omnia vanitas, a warning of the ephemeral condition of existence, a message of which flowers are symbolic conveyors.
欧祖拉的最新作品《无题——犯罪的我》及着色“无题”以更生动和具象的形式出现。它们的创造手法参考了十八世纪的壁画技术（使用了热胶）。欧祖拉再次选择了被遗弃的房屋——无人居住且远离城市。他使用了不同媒介进行干预：包括将硅胶渗透到墙上的裂痕中——渗透在被刻于墙面的记号和涂鸦中，从墙上捕捉各种痕迹、色彩和文字，从而像底片般复制它们。
Untitled - estoy pecando and Untitled with colour are Ozzola’s most recent works. They are made to reveal themselves in a more physical and pictorial form. The method the artist uses this time refers to an eighteenth- century technique of “fresco tear” that was performed with the use of hot glue. Once more Ozzola chooses sites of abandonment, uninhabited and marginal locations, his interventions are made with different media among which silicon penetrates into the lacerations on the walls into the engraved inscriptions and graffiti, capturing traces from the wall, colours and writing obtaining their visibility in negative.
欧祖拉在他的作品《大西洋》中对石板的选用与石头的历史和特征息息相关。在古代作为文字的承载物的石板是由岩石层组成，它代表着时间的积淀，仿佛是人类生活的历程。欧祖拉在石板上雕刻，好似它就是地球本身。在其上，我们看见了对未知的探寻、冒险旅程、惊涛骇浪或山峰景象的缩影。这种石头天然的煤色使它能完美地呈现光线、波浪或雪山顶峰上反射的月光……再一次，光的纯粹诗性以及它出现的瞬间被捕捉了下来。
Ozzola’s choice to use slates, for his work Atlántico, is linked to the stone’s history and special characteristics. Used in ancient times as a basis for writing, it is composed of layers of rock, representing the accumulation of time, like experiences in man's life. Engraved on Ozzola’s slates, as if it was earth its self, we find portraits of travel routes that roam the unknown, adventures and visions of stormy seas or mountain peaks. The natural anthracite colour of this stone allows for an excellent base to bring out the light, the reflection of the moon on the crest of waves or on the frozen peaks of a mountain... Once more, the pure poetry of light and the moment is captured.
欧祖拉的雕塑和视频装置与他的摄影作品密切相关，都叙述着对光的想象及思考，以及人类在地球上的渺小存在。作品《隐形——不可见的沉船》有着“看不见”的几何图形，它是欧祖拉在访问比萨的IDS中心后创作的，展示了雷达不可识别（隐身技术）的飞机和船的碎片。这些简单却又荒谬的形体，像服输于时间的残骸，叠加后倾斜尖锐的表面，在光的照耀下看似是从地下或大海的底部冒出来。像暴风雨中的波浪，它们冲破地面、向上攀爬。它们内部的蓝色就像夜晚时海面的反光。
Closely related to his photographic work, other sculptural works and video installations narrate visions of Light and its perception, the furtive presence of humans on earth. Stealth - invisible shipwrecks, “invisible” geometric figures, a work that Ozzola realised after frequent visits to the IDS centre in Pisa, reveals fragments of aerial and naval forms created so as not to be identifiable by radar and remain invisible (Stealth technology). These simple and at the same time absurd forms, like wrecks surrendered to time, multiply and emerge from the ground, as if from the bottom of the sea, thanks to the breaking of light on their oblique and sharp surfaces. Like stormy waves, they break off the floor and climb upwards. Their interior is a blue colour like the reflection of the ocean at night.
位于画廊首层的视频作品名为“Silbo”。它是欧祖拉为了纪念一种来自加那利群岛的古老语言而作 。这种语言由吹口哨生成，主要是为了声音能在Gomera岛上能够穿过深深的峡谷来远距离沟通。该语言的原样不再被知晓，但关契斯人（the Guanches，加那利群岛的原住民）在西班牙殖民者到来之前确实是吹口哨的。（在2009年，该语言被联合国教科文组织定义为人类口头和非物质遗产的杰作）。“Silbo”以细致的观察和纯粹的好奇呈现了这种精彩的口语；艺术家采取了他做研究时的一贯态度——不作评判。而摄像机的角度就像承载这种语言的风，在飞向对面海岸时始终位于海面上。在远处，一个人的轮廓逐渐变得清晰：一个口哨已很少人理解的年轻的关契斯人，最终发现大海与风是他永恒的见证和伙伴。他的思想和诗深深地根植在这个群岛的深厚文化中。这群岛现在亦是欧祖拉的家。
The video work, placed on the ground floor, is titled Silbo. It was made by Ozzola in honour of an antique language from the Canary archipelago. It is a whistled language that was mainly used to communicate at great distances through the deep valleys that cross the island of Gomera. Not much is known of the original language but the Guanches whistled before the arrival of the Spanish settlers. (From 2009, it was recognised as a masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO). Silbo approaches this wonderful oral language with the sensitivity and pure curiosity, devoid of judgment, that the artist applies to all of his research. The unusual view from the camera becomes the wind its self and it rises over the sea as it advances to reach the opposite coast. In the distance the silhouette of a human presence becomes clearer. The young Guanche, whose whistle very few people are able to understand, finds his eternal witnesses and companion in the sea and in the wind. His thoughts and poetry are contained in the deep culture of this archipelago, today the artist's home.
注意生活中的小细节有时会给人带来惊喜：如钢筋、铣刀、大梁和铁链表面上的生命痕迹……这些人类智慧的产物被时间遗弃、改变，也被水锈蚀。但这些废弃物现在是蜗牛的居所，在作品《Chiocciole ——你的嘴唇让我紧张》中，这些背上背包的小动物是对黄金比例的完美数学表达。然而，这些美好的生命形式似乎被它们的对立面吸引——被铁锈所滋养。
Paying attention to the small details that in life can sometimes amaze, noticeable traces of life are born leaning on rebar, milling cutters, girders, and chains... They are all materials born from human cleverness, abandoned and contaminated by time, corroded by water. These disused objects are inhabited by snails, Chiocciole - your lips make me nervous, small creatures that carry on their back the perfect mathematical expression of the golden ratio. Yet these wonderful forms of life seem to be attracted to their opposite, nourished by rust.
在作品《植物 – 你星光般的痣》中，铜做的叶子是模仿自然过程来人工制作的：一如露水形成蒸汽，向上蒸腾直到叶子——液化铜慢慢到达模具的“毛细管”末端，充满每一个角落，从而得到预期的形状。在此，光线再一次起着基础性的作用，在小铜壳和张开的叶子上反光，使它们充满光泽，每刻都看似栩栩如生。
Plants - tu lunares son estrellas, Bronze leafs are artificially created following mother nature’s steps, like the lymph nourishing the steam running upwards until it reaches the leafs, so the liquefied bronze slowly reaches the capillary extremities of the mould filling each gap, giving the expected shape to the work. Once again the light plays a fundamental role, reflecting on the little bronze shells and open leafs, making them shine and emerge as if they were alive in this very moment.
在作品《忘记与原谅》中，一个霓虹灯挂在一条生锈的船链上，仿佛生命旅程的记忆穿越了时而狂暴、时而宁静的海洋。在生活中，人们希望能够忘记和原谅过往，但有一些力量和能量就像坚固的链条般使人不能释然。
In, Ni olvido, ni perdono, a shaded neon light is hanging on a rusted naval chain. Memories of life’s journeys navigating through furious and quiet oceans. In life man wants to be able to forget and forgive, but there are forces and energies that like solid chains won’t allow letting go.
在欧祖拉的作品中，他的装置与其摄影作品一样，都是对立现实能够和谐共存的冥想之处。
In Ozzola’s work, sculptural installations, as much as photographs, are places of meditation where opposite realities live side-by-side, coexisting harmoniously.
关于艺术家 About Artist
乔瓦尼·欧祖拉于1982年出生于意大利佛罗伦萨，现工作和生活于加那利群岛。其艺术生涯始于2001年参加的群展“幸福：艺术和生活的生存指南”，该展于日本东京的森美术馆举行，由大卫·艾略特与皮耶尔·路易吉·塔吉策展；此后欧祖拉开始在全球范围内展出。2017年他的个展包括: 在柏林“无题协会”进行的“残骸与有星星的房间”。在意大利比萨San Michele Degli Scalzi教堂当代艺术中心中举办的“视觉系统/现实系统”；在南非开普敦第六区博物馆返乡中心与斯泰伦博斯SMAC画廊举办的“漫无目的”；及同在SMAC画廊举办的“伤痕”。
欧祖拉的作品同时在诸多国际私人和公共收藏中陈列，其中包括：切尔西艺术博物馆，纽约；沙迦马拉雅艺术中心，迪拜；森美术馆，东京，日本；Schunck-Glaspaleis，海尔伦，荷兰；托恩与塔克西斯宫美术馆，布雷根茨，奥地利；帕佩塞宫，锡耶纳，意大利；星美术馆，上海，中国；OCAT上海馆，上海，中国；广东美术馆，广州，中国；谭国斌当代艺术博物馆，长沙，中国；MAN艺术博物馆，努奥罗，意大利；早稻田大学，东京，日本；巴士底狱艺术中心，格勒诺布尔，法国；Comunale当代艺术画廊，蒙法尔科内，意大利；Viafarini Docva，米兰，意大利；Pescheria视觉艺术中心，佩萨罗，意大利；特兰托与罗弗莱托的现当代艺术博物馆（MART），意大利。
Giovanni Ozzola was born in 1982 in Florence, Italy and currently lives and works in Tenerife, Canary Islands. Starting his career in 2001 as part ofthe group show; Happiness: A Survival Guide for Art and Life, curated by David Elliott and Pier Luigi Tazzi, at the Mori Art Museum of Tokyo in Japan; Ozzola has since exhibited world-wide. Ozzola most recently presented a solo exhibition titled, Wrecks and Rooms with Stars at the untitled Association Lynchen in Berlin, Germany in 2017. His 2016 solo exhibitions include: Cercando Nella Notte Persa at Spazio 9 Aposa in Bologna, Italy; Sistemi di Visione/Sistemi de Realtá at the Centro Espositivoper le Arti Contemporanee, San Michele Degli Scalzi (SMS) in Pisa, Italy; adrift at the District Six Museum Homecoming Centre in Cape Town and SMAC Gallery in Stellenbsoch, South Africa; as well as Scars at SMAC Gallery in Cape Town, South Africa.
Ozzola has since exhibited internationally with works held in numerous private and public collections, including MART, Rovereto, Italy; Chelsea Art Museum, New York, USA; Sharjah Maraya Art Center, Dubai; Mori Museum, Tokyo, Japan; Schunck-Glaspaleis, Herleen, Netherlands; Künstlerhaus Palais Thurn Und Taxis, Bregenz, Austria; Galleria Continua, San Gimignano / Beijing / Le Moulin; Palazzo delle Papesse, Siena, Italy; Man Museo d’Arte, Nuoro, Italy; Waseda University,Tokyo, Japan; Centre d’Art Bastille, Grenoble, France; GC,AC, Monfalcone, Italy; Viafarini Docva, Milan, Italy; Centro Arti Visive Pescheria, Pesaro, Italy; OCAT – Contemporay Art Terminal, Shanghai, Guandong Museum of Art, Guangzhou, China; 2139, Jeddah, Saudi Arabia; District Six Museum, Cape Town, South Africa.
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