现场 ON VIEW | 丹尼尔·布伦 & 安尼施·卡普尔圣吉米那诺双个展，首次联合打造超然视域空间
DANIEL BUREN & ANISH KAPOOR
丹尼尔·布伦 & 安尼施·卡普尔
SAN GIMIGNANO
圣吉米那诺
26/05/2018 - 02/09/2018
常青画廊以展览“丹尼尔·布伦 & 安尼施·卡普尔”向两位长期活跃于国际艺术舞台的最杰出的艺术家致以深深的敬意——他们的创作对二十世纪和二十一世纪的艺术形态产生了持久而深远的影响。此次展览见证了丹尼尔·布伦与安尼施·卡普尔首次联手创作的一件大型雕塑作品。在这座昔日电影院和剧场的历史建筑中，展览缓缓展开，在两位艺术家的作品之间建立了对话的纽带。在画廊正厅的中央空间内，两人特别为本次展览创作的一件特殊场域作品把展览推向了高潮。
With the exhibition Daniel Buren & Anish Kapoor, Galleria Continua pays tribute to two of the most significant figures of the international art scene – artists whose work has had an enduring impact on art from the 20th to the 21st century. The exhibition sees the first collaboration between Daniel Buren and Anish Kapoor in the creation of a joint composition. The gallery itinerary is structured as a dialogue between the works of the two artists, and culminates in the work site specific, located in the stalls of this former cinema and theatre, and especially created by the two artists for this show.
▲《六只手》 Six Hands
2018年，艺术家手工完成，白色粘合剂，8.7厘米（大），黑色pvc，铁，特定尺寸。2018, 4-handed work by Daniel Buren & Anish Kapoor, white adhesive vinyl large 8,7 cm, black pvc, iron, site specific dimensions.
本次展览以丹尼尔·布伦创作于1964-1965年的一系列绘画作品作为起点，它们以圆形图案和不同尺寸、色彩的线条组合构成。自上世纪六十年代，布伦从材料的最优使用以及背景（支撑物）和形式（绘画）之间的关系角度出发，逐渐形成了一种彻底、激进的个人创作风格。在1965年后半年，布伦决定以一种视觉工具来代替涂色的条纹，于是使用工业材料制作了一种8.7厘米宽的垂直条带，使彩色和白色的条带在作品中交替出现。紧接着，布伦进一步简化了作品的视觉构成，他让这一视觉工具有规律地重复，并且排除了任何形式变化——仅允许不同的颜色和一成不变的白色相互交替。此后，这一始终如一的视觉工具开始与各种不同的变量、以及材料和环境等因素相互结合。在此过程中，布伦激发我们对作品和其呈现方式、以及艺术家在更普遍意义上所介入的真实环境和社会气氛展开反思。
The exhibition opens with a series of paintings by Daniel Buren, from 1964 and 1965, where rounded forms are combined with lines of different size and colour. From the early ‘60s, Buren developed a radical style which played on the economy of the medium used and on the relationships between setting (the support) and form (the painting). In the second half of 1965, he chose to replace the painted stripes with an outil visuel (visual tool), using 8.7cm-wide vertical strips of an industrial textile, alternating between white and colour. Buren then went on to reduce yet further this visual register, repeating it systematically and denying any formal variation – except for the use of infinitely variable colour, which alternates with the never-changing white. Then this invariable visual tool is integrated with infinite variables and materials, situations, etc. In so doing he invites us to reflect on works, on the way in which it is presented, and more generally, on the physical and social environment in which the artist intervenes.
▲《纸面抽象拼贴绘画》‘Peinture et collage sur papier’
1964年4月，定点作品，丙烯，油，铜版纸，粉笔，纸上石墨，65 x 50.6 厘米。April 1964, situated work, acrylic, oil, bonded papers, chalk and graphite on paper, 65 x 50,6 cm, © Daniel Buren/ADAGP, Paris.
▲《棉帆布瓷漆绘画》‘Peinture émail sur toile de coton’
1965年5月，定点作品，粉色棉帆布瓷漆绘画，225.5 x 193 厘米。May 1965, situated work, enamel paint on cotton canvas (pink sheet), 225,5 x 193 cm, © Daniel Buren/ADAGP, Paris.
▲《图形概要，干预II-5》 ‘Esquisse graphique pour 'Intervention II' - 5
牛津现代艺术博物馆，牛津大学，联合王国，2006年11月，定点作品，润滑脂铅笔，水彩笔，胶布黏贴纸面，21 x 29.7厘米。Modern Art Oxford, Oxford, Royaume-Uni' November 2006, situated work, grease pencil and black felt pen, vinyl papers glued on paper, 21 x 29,7 cm, © Daniel Buren/ADAGP, Paris.
安尼施·卡普尔的艺术创作起点，可追溯至一系列不固定的雕塑物件。它们看上去是由彩色的颜料堆积而成，展现了卡普尔对于物体的材料本质以及把物体和其周围世界分隔开来的“表面”所进行的初步审视，而这在艺术家之后的创作里成为了不可或缺的探索方面。不明确的形状，在自然和抽象世界之间存在，处于过渡状态并且似乎跳脱了材料本身的主体——纯色在此所带来的视觉冲击力引发了物体的视觉幻象，使之挣脱于种种限制，并把这些形态带入进感觉阈限。
Dating back to the beginnings of Anish Kapoor’s artistic activity are a series of unstable sculptural objects. Seemingly formed from coloured pigments, they are the first fruits of an exploration into the very materiality of the object and the skin that separates it from the world, that has remained an integral concern in the artist’s work. Indefinite forms, halfway between the natural and the abstract world, bodies in transition which seem to leap spontaneously out of the material itself – the intensity of pure colour is in the service of the illusion of the object, suggesting a breaking free of borders, and placing these forms in the realm of the liminal sublime.
▲《一千个名字》1000 Names
1982年，树脂，红色颜料，180 x 60 x 45厘米。1982, resin, red pigment, 180 x 60 x 45 cm.
▲《一千个名字》1000 Names
1982年，树脂，黄色颜料，60 x 60 x 40厘米。1982, resin, yellow pigment, 60 x 60 x 40 cm.
▲《一千个名字》1000 Names
1982年，树脂，蓝色颜料，48 x 48 x 23厘米。1982, resin, blue pigment, 48 x 48 x 23 cm.
1975年，丹尼尔·布伦创作了他的第一件《树脂玻璃屋》（Cabane Eclatée）作品，这标志着他在创作轨迹上的一次重大转折。作品透过有意识的建构和解构，强调了作品与其环境之间的相互依赖关系：作品成为其自身存在的场域，也是行动和移动所发生的确切地点。此次在圣吉米那诺展出的《玻璃屋》和其所在建筑物以及卡普尔的丙烯作品之间，构成了一段令人愉悦的视觉对话。这两部分作品自身的开放性，给予了材料和透明度相互结合的无穷可能性。
In 1975, Daniel Buren created the first Cabane Eclatée, which would constitute a real turning point, emphasising the interdependence between the work and its setting by playing consciously with construction and deconstruction: the work becomes its own site, as well as the locus of movement and ambulation. The Cabane exhibited by Buren in San Gimignano entertains a dialogue with the existing architecture and with the acrylic work exhibited Kapoor. The open nature of the two works gives free rein to a play on materials and transparencies.
▲《透明树脂玻璃屋 II》‘La Cabane éclatée II transparente'
2018年，定点装置，树脂，木头，黑白色条纹棉帆布，每个8.7厘米，电灯，234.9 x 234.9 x 234.9厘米。2018, situated work, Plexiglas, wood, cotton canvas in white and black alternated and vertical stripes of 8,7 cm each, electric light, 234,9 x 234,9 x 234,9 cm, © Daniel Buren/ADAGP, Paris.
步入画廊的底层展厅，两位艺术家的作品把我们引入到一段亲密的交谈：布伦的白、绿条纹颇为恰当地包围着卡普尔的雪花石膏雕塑。
As we proceed down to the lower floor of the gallery, the works of the two artists are in close dialogue: Buren’s
green and white coloured stripes surround ideally Kapoor’s white alabaster sculpture.
▲ 安尼施 · 卡普尔《无题》ANISH KAPOOR 'Untitled'
2016年，大理石，100 x 79 x 67 厘米。2016, alabaster, 100 x 79 x 67 cm.
▲ 丹尼尔 · 布伦《周长对角线》DANIEL BUREN ‘Une diagonale pour un périmètre’
1970-2017年，绿色胶布贴在白墙上，大8.7厘米。1970-2017 work in situ, green adhesive vinyl large 8,7 cm on white wall, © Daniel Buren/ADAGP, Paris. Photo Ela Bialkowska
接下来，展览将布伦的彩色而形式多变的光纤织物与卡普尔的不锈钢镜面体相并置，凸显了两者之间的鲜明差别。在卡普尔的诗意创作中，居于核心位置的一直是他对于“空”的探索：他通过把空洞填满或把材料清空，从而使“空”转化为有形的存在。当观看者与物件相遇时，“空”作为一种“可能性-空间”，扩展了实际的可用空间，而这正是卡普尔的作品背后所承载的统一主题。在卡普尔的不锈钢镜面和布伦的镜面及彩色形态的结合中，观众逐渐失去了对于真实空间的把握，使他/她仿佛置身于一种未经定义的超然空间之中。
The itinerary continues with the contrast between the polychrome and proteiform light of Buren’s fibre optic fabrics and Anish Kapoor’s mirrored steel objects. The study of the void is one of the central elements of Kapoor’s poetics: rendered tangible via a cavity which fills up or by a material which empties out, it is a metaphor for creation. The void as a ‘possibility-space’ in which object and observer, through their encounter, may expand the limits of the available space is the unifying theme at the back of the stage, where Kapoor’s steel mirrored forms and the effects of Buren’s mirrors and colours combine to disorient the spectator, situating him / her in an undefined space.
▲《当看颜色时，我们看到了什么？》‘Quand la couleur se regarde, que voyons-nous d’elle ?’
1990年，定点装置，镜子，丙烯画。1990, situated work, mirror, acrylic paint, work space dimension, © Daniel Buren/ADAGP, Paris.
▲《纳米比亚 2》Namibia 2
2016年，不锈钢，40 x 60 x 60厘米。2016, stainless steel, 40 x 60 x 60 cm.
展览中放置于正厅中央空间的作品，是布伦和卡普尔之间的一次观念化的对话。这件大型装置作品由两位艺术家联合设计，对空间进行了彻底地重新安排，同时创造出令人超乎想象的视觉干涉，促使我们去探索那不可接近的终极地带。
The work which occupies the stalls concludes the ideal dialogue entertained by Buren and Kapoor in this
exhibition. An installation of large dimensions, jointly planned, which completely reconfigures the space and
creates unexpected visual interferences, it challenges us to explore the inaccessible.
▲ 全部图片：常青画廊圣吉米那诺展览现场
All images: Exhibition view, GALLERIA CONTINUA, San Gimignano.
摄影 Photo Ela Bialkowska.
丹尼尔 · 布伦 的作品曾在众多国际顶尖当代艺术中心展出。他于1938年出生于法国巴黎市镇布洛涅-比扬古。作为法国最享有盛誉的艺术家之一，布伦却更愿意以最简洁的语言来形容自己的生平，并说自己只是“在原地生活和工作”。他曾在诸多美术馆和艺术机构举办过个展，其中包括：阿姆斯特丹市立美术馆，荷兰（1976）；库勒-慕勒美术馆，奥特洛，荷兰（1976）；凡阿贝美术馆，埃因霍温，荷兰（1976）；巴黎市现代艺术博物馆（1983）；法国巴黎装饰艺术博物馆（1987）；波尔多当代艺术美术馆，法国（1991）；蓬皮杜艺术中心，巴黎（2002）；所罗门·R·古根海姆博物馆，纽约（2005）；毕加索博物馆，巴黎（2008）；蓬皮杜艺术中心-梅斯（2013）；波罗的海当代艺术中心，盖茨黑德，英国（2014）；斯特拉斯堡现当代艺术博物馆，法国（2014）；多纳雷吉纳当代艺术博物馆，那不勒斯，意大利（2015）；巴登巴登节庆大剧院和美术馆，雷克林豪森，德国（2015）；空间美术馆，阿瓜斯卡连特斯，墨西哥（2016）；路易·威登基金会，巴黎（2016）；布杂艺术中心，布鲁塞尔，比利时（2016）；蓬皮杜艺术中心-马拉加（2017）；波哥大现代艺术博物馆，哥伦比亚（2017）；开姆尼茨艺术博物馆，德国（2018）。布伦曾于1972年和1982年参展卡塞尔文献展。他至今已参加过数十次威尼斯双年展，并在1986年代表法国参展，使法国国家馆荣获“最佳国家馆金狮奖”。同年，布伦创作了他第一件也是最具争议性的公共委托作品《双平台》（布伦柱），作品被放置于巴黎皇家宫殿荣誉庭。2007年，布伦被授予颇具声望的高松宫殿下纪念世界文化奖。2002年，他在巴黎大皇宫展出了第五版“纪念碑”。布伦的其他永久性公共艺术作品还呈现于：巴黎皇家宫；东京台场，日本；桐咏庄园，瓦兹，法国；沃尔斯堡火车站，德国；联邦劳工和社会秩序部，柏林；西格列日公园，塞利尼昂，法国；挪威电信，奥斯陆，挪威；阿诺尔弗·迪·坎比奥广场，埃尔萨谷口村，意大利；玛吉亚别墅，夸拉塔，意大利；罗马当代艺术博物馆；近期包括：大手町金融城立方体，东京；威尔第广场，拉斯佩齐亚，意大利；位于伦敦托登罕宫路站的作品《菱和圆》；作品《从圆形建筑到源头-墨西哥五色》于今年3月在墨西哥城佩德雷加尔购物中心首次亮相。
Daniel Buren has exhibited in some of the world’s leading contemporary art centres. Born in Boulogne-Billancourt (Paris) in 1938, he prefers to reduce his biography to a minimum, stating that he “lives and works in situ”. His work has been the subject of major exhibitions at Stedelijk Museum, Amsterdam (1976); Kröller-Müller Museum, Otterlo (1976); Van Abbemuseum, Eindhoven (1976); ARC – Musée d’art moderne de la ville de Paris (1983); Musée des arts décoratifs, Paris (1987); CAPC, Bordeaux, (1991); the Centre Pompidou, Paris (2002); the Solomon R. Guggenheim Museum, New York City (2005); Musée Picasso, Paris (2008); the Centre Pompidou-Metz (2013); the Baltic Centre for Contemporary Art, Gateshead (2014); the Museum of Modern and Contemporary Art, Strasbourg (2014); Museo d’Arte Contemporanea Donnaregina, Napoli (2015); Festspielhaus and Kunsthalle, Recklinghausen (2015); Museo – Espacio, Aguascalientes (2016); Fondation Louis Vuitton, Paris (2016); BOZAR Palais des Beaux-Arts, Brussels (2016); the Centre Pompidou Málaga (2017); MAMBO Museo de Arte Moderno de Bogotá (2017); Kunstsammlungen Chemnitz (2018). Buren participated in Documenta Kassel in 1972 and in 1982. He has exhibited at the Venice Biennial more than ten times, in 1986 representing France and winning the Golden Lion for best pavilion. That same year, he produced his first and most controversial public commission, The Two Plateaux /Les Deux Plateaux, for the main courtyard of the Palais-Royal in Paris. In 2007, he received the prestigious Praemium Imperiale. In 2012 he exhibited at the Grand Palais in Paris, for the fifth edition of Monumenta. Sites playing host to some of his most important permanent public works include: the Palais Royal, Paris; Tokyo Odaiba, Japan; Chapelle du Donjon, Vez, France; Bahnhof, Wolfsburg, Germany; Bundesministerium fur Arbeit und Sozialordnung, Berlin; Parc de la Cigalière, Sérignan, France; Telenor, Oslo; Piazza Arnolfo di Cambio, Colle di Val d’Elsa, Italy; Villa La Magia, Quarrata, Italy; MACRO, Roma and more recently, Otemachi Financial City Grand Cube, Tokyo; Piazza Verdi, La Spezia, Italy; the very central Tottenham Court Road tube station in London, which houses Diamonds and Circles, and the Artz Pedregal shopping centre in Mexico City, where De la rotunda a la Fuente, 5 colores para México was inaugurated last March.
安尼施·卡普尔 1954年出生于孟买。他在七十年代搬到了伦敦，且现在仍在那里工作与生活。卡普尔的作品曾在众多国际顶尖美术馆和艺术机构中展出。他近期个展的举办机构包括：布宜诺斯艾利斯纪念公园，阿根廷（2017）；罗马当代艺术博物馆，意大利（2016）；墨西哥国立自治大学当代艺术博物馆，墨西哥城，墨西哥（2016）；凡尔赛宫，巴黎，法国（2015）；犹太博物馆与宽容中心，莫斯科，俄罗斯（2015）；萨基普·萨班哲博物馆，伊斯坦布尔，土耳其（2013）；马丁·格罗皮乌斯博物馆，柏林，德国（2013）；悉尼当代艺术博物馆（2012）。此外，卡普尔还曾参与诸多美术馆和机构举办的群展，其中包括：蛇形美术馆，伦敦；第九届卡塞尔文献展，卡塞尔；斯德哥尔摩现代艺术博物馆；蓬皮杜艺术中心；巴黎卢浮宫。卡珀尔的作品被诸多公共和私人机构收藏，包括纽约现代艺术博物馆和阿姆斯特丹市立博物馆。卡普尔在最近几年中受委托创作的公共艺术项目包括：《沉降》（布鲁克林大桥公园，纽约）；《新方舟》（全球第一座可移动式充气音乐厅，巡展于日本）；《轨道塔》（为2012年伦敦奥运会打造的位于伊丽莎白女王公园的大型永久性高塔雕塑）；《利维坦》（巴黎大皇宫）；《圣地》（“提兹谷巨人”系列里的第一件作品，米德尔斯堡，英国）；《马厦斯》（泰特现代美术馆涡轮大厅，伦敦）；《云门》（芝加哥千禧公园）；《地下》（与常青画廊合作于阿戈斯蒂诺中世纪高塔呈现）；《圣吉米那诺与泥土电影院》（与常青画廊[巴西利卡塔馆]合作于意大利拉特罗尼科的波里诺国家公园呈现）。安尼施·卡普尔于1990年获得威尼斯双年展最佳年轻艺术家Duemila奖，于1991年获得英国透纳奖。卡普尔在2001年成为英国皇家建筑师学会荣誉会员。2013年，他因其在视觉领域中的突出贡献而被予荣誉爵士头衔。
Anish Kapoor was born in Bombay in 1954. In the 70s he moved to London, the city where he lives and works today. His work has been shown in the most important museums and institutions throughout the world. Recent solo exhibitions include Parque de la Memoria, Buenos Aires (2017); MACRO Museo d’Arte Contemporanea, Rome (2016); MUAC Museo Universitario Arte Contemporáneo, Mexico City (2016); Château de Versailles, France (2015); The Jewish Museumand Tolerance Center, Moscow (2015); Sakıp Sabancı Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013);Museum of Contemporary Art, Sydney (2012). He has taken part in numerous group exhibitions in contexts such as the Serpentine Gallery, London; Documenta IX, Kassel; Moderna Museet, Stockholm; the Centre Georges Pompidou and the Louvre in Paris. Numerous public and private collections feature works by the artist, among these MoMA in New York and the Stedelijk Museum in Amsterdam. Among the most renowned public commissions carried out by Kapoor in recent years are Descension (Brooklyn Bridge Park, New York); Ark Nova (the world’s first inflatable mobile concert hall, touring Japan); Orbit (a permanent tower commissioned as part of London 2012 Olympic Games for the Queen Elizabeth Park, London); Leviathan (Grand Palais, Paris); Temenos (first of the Tees Valley Giants project), Middlesbrough, U.K; Marsyas (Tate Modern Turbine Hall, London); Cloud Gate (Millennium Park, Chicago); Underground (with Arte Continua, medieval tower of Sant’Agostino), San Gimignano and Earth Cinema (Arte Pollino un altro sud, with Arte Continua, Basilicata), Latronico, Italy. Anish Kapoor received the Premio Duemila at the Biennale di Venezia in 1990 and the Turner Prize in 1991. Since 2001, he has been an honorary member of the Royal Institute of British Architecture, and in 2013 he received a knighthood for services to the arts.
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