现场 | 米开朗基罗·皮斯特莱托十年回归，“镜面之上”再现经典行为表演
常青画廊很高兴于6月23日揭幕国际顶尖艺术家之一，“贫穷艺术”运动先驱——米开朗基罗·皮斯特莱托（Michelangelo Pistoletto）在北京空间的第二次个展：镜面之上。此次展览是继2008年其首个北京个展之后，皮斯特莱托以一系列全新项目提供新的思考，并回顾其早期经典作品的回归。开幕当日，艺术家亲临常青画廊现场，为到场嘉宾及媒体进行了导览解读，详尽讲述了此次展览中不同主题镜面作品彼此间的互联关系; 其后在现场数千计观众的期待中，进行了其经典砸碎镜面行为表演，共同见证了此创作的完整发生过程及深远内涵。
在此感谢大家开幕的到来以及对艺术家的支持，此次展览将持续至10月21日，欢迎大家前来体验镜面之上的“第三天堂”。
▲ 展览开幕艺术家行为表演现场，摄影：Oak Taylor Smith
展览现场 EXHIBITION VIEW
以雕塑形式出现的镜子占据了画廊一层大厅，根据两部分镜身间的角度，该作品呈现出自我反射的结构，并成倍复制。划分与倍增，叠加与消减，作为一切有机发展的普世基础，亦为该系列作品的基本主题；艺术家早在1977年便加以探索，此次，该作将以更大尺寸在画廊入口的中心地带呈现。
The mirror, which in sculptural form fills the first floor of the gallery, is structured in self-reflecting forms that replicate into multiples according to the angle between the two elements comprising it. Division and multiplication, accumulation and exclusion, understood as universal foundations for all organic development, are the fundamental themes of this type of work; already explored by the artist in 1977, here they have been realized on a larger scale for the large central entrance to the gallery.
▲ 一楼展览现场 First floor，摄影：Oak Taylor Smith
在二层，观者将欣赏到首次对公众展出的全新“镜画”作品，精美且特具自传意味。艺术家以丝网印刷技术将自己的肖像融于镜面抛光的不锈钢表面，通过“在当下”的第四维度参与，邀请观众成为场景的一部分。皮斯特莱托将自己的形象置于前景，手举作为“生成性破坏”符号的木槌——这一符号取自其2008年横滨三年展及2009年在威尼斯双年展中实施的著名行为表演（前者现被纽约现代艺术博物馆收藏）。
On the second floor visitors can admire some fine, new examples of mirror paintings with a specific autobiographical note, on public display for the first time. The artist has used the silkscreen technique to incorporate an image of himself into the mirror-polished stainless steel surface, inviting the viewer to become part of the scene by creating a fourth dimension of participation in the present. Pistoletto places his own figure to the fore, holding a wooden mallet, a symbol of generative destruction taken from his famous performances, such as the one he did for the Yokohama triennale in 2008 (now part of the MOMA collection in New York) and then the following year at the Venice Biennale.
▲ 二楼展览现场 Second floor，摄影：Oak Taylor Smith
位于画廊三层的作品《无限立方米》，则蕴含“贫穷艺术”的基本理念：六面镜子仅由一根简单的绳索组装而成，界定出一立方米的空白空间，激发着观者的好奇与感知，从而创造出一个想象中的“无限”意象，及在一个无法被使用的空间中的全方位反射。即使无人观看也能持续反照四周的镜子，成为“可见”与“不可见”间的调解者，延伸着观众双眼的能力。
The third floor houses Metrocubo d'infinito (Cubic Metre of Infinity), a work that seems to pick up on the essential concepts of Arte Povera: six mirrors assembled with a simple piece of rope delimit the empty space of a cubic metre. The viewer’s curiosity and perception are stimulated in order to create a mental image of infinite and omnidirectional reflections inside a space that can not effectively be used. The mirror, whose capacity to reflect remains even when it is not looked at by any eye, becomes the intermediary between the invisible and the visible, extending the capacity of the viewer’s eye itself.
▲ 三楼展览现场 Third floor，摄影：Oak Taylor Smith
▲ 艺术家本人在展览现场（Michelangelo Pistoletto），图片拍摄：Oak Taylor Smith.
米开朗基罗·皮斯特莱托，1933 年生于意⼤利⽐耶拉。自1955 年开始其作品陆续展出，后于1960年在意大利都灵的加拉泰亚画廊举办首场个展，早期实践致力于⾃画像的探索。1961年⾄1962年间，他创作了最早的⼀组“镜画”作品，将观者本⾝与实时现场纳入其中，带回被20世纪前卫艺术所摒弃的文艺复兴透视法，并将其逆转。此作品很快令这位艺术家蜚声国际，并于60年代在欧美重要画廊与博物馆举办诸多个展。“镜画”系列也成为其艺术创作于理论思想的基石。1965年至1966年间，他创作了一组名为《迷你物品》的作品，被视为“贫穷艺术”运动的奠基之作，皮斯特莱托也成为这一运动的核心力量与领军人物。1967年起，他的工作开始跳出传统展览空间，在此后的数十年间，他不断将来自不同领域与社会各界的艺术家聚合到一起进行“创造性合作”。1975年至1976年，其作品《空间》分为12个连续的展览，在都灵的斯坦画廊进行——这是其一系列为时一年，以“时间大陆”为名之作品的首部曲。该系列还包括《白色之年》（1989年）和《快乐的海龟》（1992年）。1978年，在都灵的一场展览确定了皮斯特莱托未来创作的两个方向：《镜子的划分与倍增》与《艺术承载信仰》。八十年代初期，他完成了一系列硬聚氨酯雕塑创作，并在1984年于佛罗伦萨美景堡所举办的个展中以大理石呈现。1985年至1989年间，皮斯特莱托创作了一系列“黑暗”作品，名为《肮脏的艺术》。九十年代，通过“公共艺术计划”，以及创建于比耶拉的艺术城市-皮斯特莱托基金会和理念大学，他将艺术与社会各领域积极地联系起来，旨在激起与制造“有责任的社会变化”。2003年，他获得威尼斯双年展金狮奖终生成就奖。2004年，都灵大学授予皮斯特莱托政治学荣誉博士学位。值此时机，他也宣布了自己最新创作阶段，“第三天堂”。2007年，由于“作为一名艺术家、教育家和社会活动家，他将源源不断的创造力贡献给艺术，创造出给世界带来全新理解方式的、划时代的艺术形式”，皮斯特莱托在耶路撒冷获颁沃尔夫艺术奖。2010年，其文章《第三天堂》以意大利语、英语、法语和德语四种语言出版。2011年，他出任波尔多Evento 2011双年展“艺术与城市再演进”的艺术总监一职。2012年，他开始致力宣传“重生日”，这一首个庆祝重生的日子定为每年的12月21日，迎来世界各地的特别活动。2013年，巴黎卢浮宫举办其个展“米开朗基罗·皮斯特莱托：一年——世间天堂”。同年，他在东京获颁“高松宫殿下纪念世界文化奖”的绘画奖。2014年，在意大利当任欧盟轮值主席国期间，其“第三天堂”的标志符号进入了布鲁塞尔欧盟总部的大厅。2015年5月，他被授予古巴哈瓦那艺术大学的荣誉博士。同年他完成大型装置《重生》，立于联合国驻日内瓦总部万国宫。2016年，位于哈瓦那的古巴国家美术馆举办皮斯特莱托大型回顾展，展出从60年代的绘画，到最新的《第三天堂》，再到完成于2015年的古巴“镜画”，横跨其创作生涯的多个维度。2017年，其个展“米开朗基罗·皮斯特莱托：壹加壹等于三”作为威尼斯双年展平行项目展，在圣乔治马焦雷教堂亮相。
Michelangelo Pistoletto was born in Biella in 1933. He began to exhibit his work in 1955 and had his first solo show in 1960 with Galleria Galatea in Turin. His early workis characterized by an inquiry into self-portraiture. In the two year period from 1961-1962, the first Mirror Paintings were made, which incorporate the viewer and real time into the work directly, opening up perspective, and reversing Renaissance perspective that had been closed off by the twentieth century avant-garde. These works quickly brought Pistoletto international acclaim, leading to individual shows in important galleries and museums in Europe and the United States in the sixties. The Mirror Paintings provided the foundation of his subsequent artistic output and theoretical exploration. In 1965 and 1966, he produced a set of works entitled Minus Objects, considered fundamental to the birth of Arte Povera, an art movement for which Pistoletto was an animating force and key protagonist. In 1967, he began working outside traditional exhibition spaces, with the first instances of the“creative collaboration” he developed over the following decades by bringing together artists from different disciplines and diverse sectors of society. From 1975-1976, he presented a cycle of twelve consecutive exhibitions, “LeStanze”, at the Stein Gallery in Turin. This was the first of a series of complex, year-long works known as “time continents”, others include White Year (1989) and Happy Turtle (1992). In 1978, in a show in Turin, Pistoletto defined two main directions for his future artistic production:“Division and Multiplication of the Mirror” and “Art Takes On Religion”. In the early eighties, he made a series of sculptures in rigid polyurethane translated into marble for his solo show in 1984 at Forte di Belvedere in Florence. From 1985 to 1989, he created the series of “dark” volumes called Art of Squalor. During the nineties, with Project Art and his creations in Biella of Cittadellarte Fondazione Pistoletto and the University of Ideas, he brought art into active relation with diverse spheres of society with the aim of inspiring and producing responsible social change. In 2003, he won the Venice Biennale’s Golden Lion for Lifelong Achievement. In 2004, the University of Turin awarded him an honorary degree in Political Science. On that occasion, the artist announced the most recent phase of his work, Third Paradise. In 2007, in Jerusalem, he received the Wolf Foundation Prize in the Arts, “for his constantly inventive career as anartist, educator and activist whose restless intelligence has created prescient forms of art that contribute to fresh understanding of the world.” In 2010, he wrote the essay “The Third Paradise”, published in Italian, English, French and German. In 2011, he was the artistic director of “Evento 2011 – L'art pour uneré-évolution urbaine” in Bordeaux. In 2012, he started promoting the Rebirth-day, the first worldwide day of rebirth, celebrated every year on December 21st with initiatives taking place all over the world. In 2013, the Louvre in Paris hosted his personal exhibition “Michelangelo Pistoletto, année un – le paradis sur terre”. The same year, he received the Praemium Imperiale for painting, in Tokyo. In 2014, the symbol of the Third Paradise was installed in the hall of the headquarters of the Council ofthe European Union in Bruxelles for the duration of the Italian Presidency of the European Council. In May 2015, he received an honorary degree from the Universidad de las Artes of Havana in Cuba. In the same year, he realized awork of epic scale entitled Rebirth, situated in the park of the Palaisdes Nations in Geneva, headquarters of the UN. In 2016, he exhibited his worksin Havana, Cuba, at the Museo Nacional de Bellas Artes, with a great retrospective exhibition which encompassed his entire artistic journey, from the paintings of the 1960s to the latest works on the Third Paradise and the Cuban Mirror Paintings, executed the previous year. In 2017, the artist participated in an auxiliary event of the 57th Venice Biennial with the exhibition “One and One Makes Three” at the San Giorgio Maggiore Abbey complexin Venice.
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