新展开幕 NEW EXHIBITION | 文森·漆 Wensen QI「 游 物 Wandering 」
文森·漆 Wensen QI
游 物 WANDERING
2020.07.11 > 08.29
上海市衡山路199号永平里105栋
Bldg 105, Yong Ping Lane, 199 Hengshan Road, Shanghai
周二至周六：11点 - 19点
11 a.m. - 7 p.m., Tue. – Sat.
Wensen QI 文森·漆 | Untitled 无题 | 2020 | 大漆，苎麻，氧化银箔，铁粉 Chinese lacquer, ramie fabric, oxidized silver leaves, iron powder | 80 x 100 x 5 cm | #WQI073
杜梦堂荣幸呈现法国艺术家文森·漆的个展“游 物”，展览集中展出文森·漆近一年期间共15件装置作品，涵盖了文森·漆在漆艺以及综合材料方面的新探索，展现了文森·漆极简的美学风格之下所蕴含着的丰富材料体验与触感。展览取名为“游 物”，不仅指向这位游历东西方文化的艺术家在各种自然材料中的探索，更指向一种游观美学语境下的自然审美观下，对于自然本质和生命巡回的礼赞和思索。
自2018年上海与2019年巴黎的“髹行”之后，这是杜梦堂又一次对当代语境下传统漆艺的聚焦，并试图呈现漆艺在新视角下的审美与价值。作为一家法国画廊的亚洲分部，杜梦堂（上海）始终聚焦于东西方的文化交流，尤其是中法之间的对话，致力于在艺术领域构建多元化的对话可能。此次举办艺术家文森漆的个人展，也展现杜梦堂对年轻艺术家的关注与积极扶持。
Galerie Dumonteil Shanghai is proud and privileged to present Wandering, a solo exhibition of critically-acclaimed French artist Wensen Qi (formerly known as Vincent Cazeneuve, b. 1977, Toulouse region, France), gathering 15 pieces of his most prominent installation creations over the past year. Covering Wensen Qi's latest explorations with lacquer art and composite materials, the exhibition seeks to reveal the rich material-based experiences and touches embedded in his ultra-simplistic aesthetic style. The title Wandering not only points to the trials with various natural materials by the artist, who has been traversing both eastern and western cultures, but also depicts the nature within the aesthetics context, celebrating and contemplating the essence of nature and the circle of life.
After The Enduring Practices of Lacquer, staged in Shanghai (2018) and Paris (2019), Wandering marks yet another zoom-in on traditional lacquer art in the contemporary discourse as well as an attempt to showcase the celebrated artform's aesthetics and values under the new perspective. As the Asian branch of a French art gallery, Galerie Dumonteil Shanghai has always been committed to cultural exchanges between the East and the West, in particular, dialogues between China and France, as it pursues possibilities to foster diversified dialogues in the art field. And the upcoming solo exhibition of Wensen Qi also manifests the gallery's attention to and active support for rising young artists.
材料之于转变，自然之于循环
对于材料的媒介探索与丰富运用是文森·漆艺术创作的最大特色。“我不用颜料，而用材料作画。”他热衷于在漆艺中融合各种不同寻常的材料：帆布、麻绳、皮革等。此次展出作品中所涵盖的不同材料多达二十余种：苎麻、金箔、旧米袋、 铁粉、楠竹……以作品Untitled (#WQI080)为例，在仅仅一个平面之上，就包含了六种材料，包括大漆、木板、楠竹、氧化银箔、金箔、石灰。正是材料的多元使得作品超越了平面，获得了立体的质感。
The biggest highlight of Wensen Qi's artistic narratives lies with his exploration and diversified use of materials. "I paint with materials, rather than paints." He is fascinated with integrating various unusual materials in lacquer art, such as canvas, rope, leather, etc. And for Wandering, his creations involve more than 20 different materials – ramie fabric, gold leaves, old rice bags, iron powder, Moso bamboo ... Taking the work Untitled (#WQI080) as an example, one plane alone is decorated by a rich combination of six materials, including lacquer, wood panel, bamboo, oxidized silver leaves, gold leaves, and graphite. And it is such a diversity of materials that makes the work no linger limited to a single dimension and assume a three-dimensional texture.
Wensen QI 文森·漆 | Untitled 无题 | 2020 | 大漆，木板，楠竹，氧化银箔，金箔，石灰 Chinese lacquer on wood panel, Moso bamboo (Phyllostachys heterocycla), oxidized silver leaves, gold leaves, graphite | 120 x 120 x 4.5 cm | #WQI080
对文森而言，所有的材料并没有等级之分，它们有的只是不同的气质与风格。对自然材料的观照，触发了一种直觉的、感性的情感内涵。麻布的粗糙、漆的柔软，材料的质感经由双手，成为文森体验世界的方式。随后，这种触感，通过文森对材料的分层、研磨、抛光，转化成了视觉作品，人们借由观看，去体验物质本身的特性与存在，多材质的融合，构成了文森作品中的多感官层。
For Wensen, all materials are never subject to a difference by grades, high or low – they vary only in temperaments and styles. He believes that the observation of natural materials can trigger an intuitive yet sensual emotional connotation. Either the roughness of linen or the softness of lacquer, the textures of materials, as they pass through hands, become a window for Wensen to experience the world. Then, the touches are translated into visual works with his layering, grinding, and polishing of materials, which allows people to experience, through observation, the characteristics and existences of the materials themselves. At the same time, the fusion of various materials constitutes the multiple sensory layers in Wensen's works.
Wensen QI 文森·漆 | Untitled 无题 | 2020 | 大漆，旧米袋，金箔，水泥粉 Chinese lacquer, old rice bag, gold leaves, concrete powder | 52 x 32 x 5 cm | #WQI075
Wensen QI 文森·漆 | Untitled 无题 | 2020 | 大漆，旧米袋，氧化银箔，金箔，炭黑 Chinese lacquer, old rice bag, oxidized silver leaves, gold leaves, lamp black | 41 x 23 x 4 cm| #WQI078
旧米袋经常出现在文森的作品里。米袋作为在生活中经常出现的一种材料，文森表示：“这些米袋可能曾环游过整个中国，这使得它们的粗糙感成为了一种美的特征。”这样的浪漫想象背后，是材料本身所具有的天然美，也是材料自身在世界完成的一次周游。周游，也贯穿了文森的整个创作，他他观瞻自然，取材于自然，又将材料转变为艺术，使其在天地之间完成了一次次的循环。
Old rice bags have been a common theme in Wensen's creations. Regarding this item of frequent use in Chinese life, Wensen notes: "These rice bags may have traveled all around China, which makes their roughness a characteristic of beauty." Behind such romantic imagination is not only the natural beauty possessed by the material itself, but also the wandering journey it has completed in the human world. That said, Wandering is also a theme that penetrates Wensen's entire collection, as he views nature, draws from nature, and transforms natural materials into art, helping them accomplish circles of life between heaven and earth.
万物本就有大美
The Inherent Beauty of All Things
从丰富的材料，到抽象的图腾，事物本身的美是吸引着文森的灵感之源。本次展览中Untitled (#WQI070)是文森个人最喜欢的作品之一。七块由被金箔覆盖的大漆排列成三行三列，并由蛋壳镶嵌的漆器连接起来，上面刻上了抽象符号。乍一看，观者也许会以为这是某种古代的计数符号，象征着某种历史性的意义，然而对于文森来说，这些符号从来无关任何文化或者历史背景，这些图腾式的符号本身就有一种内在的抽象之美，它们是独特而自由的粒子，它们本就自给自足，并不需要任何意义的加持。
From rich materials to abstract totems, the beauty of things themselves is the source of inspiration that engages Wensen. The work Untitled (#WQI070) in Wandering is one of his personal favorites. Seven gold foil-covered lacquer pieces are arranged in a pattern of three rows and three columns, connected by lacquerware inlaid with eggshells and engraved with abstract symbols. At first glance, the viewer may consider this an ancient counting device, which symbolizes a certain historical significance. But for Wensen, these symbols never have any particular cultural or historical context – these totem-style symbols carry an inherent beauty of abstraction. They are unique and free particles – self-sufficient and undecorated by any meanings.
Wensen QI 文森·漆 | Untitled 无题 | 2020 | 大漆，苎麻，金箔，蛋壳镶嵌 Chinese lacquer, ramie fabric, gold leaves, egg shell inlay | 147 x 96 x 5 cm | #WQI070
在作品Untitled (#WQI071)中，文森用多层大漆将米袋石化，同时又保留了米袋的基本形状与粗糙边缘，以金箔包裹住整个米袋，石灰铺上木板呈现的灰黑色增加了作品的细节体验。整个过程中，文森最大限度地保留了物质本身，以制作化石般的方式去进行创作，这使得最终的作品呈现出一种极简的视觉风格：物品本身就已足够美。
In the work Untitled (#WQI071), Wensen petrified a rice bag with multiple layers of lacquer, while retaining the bag's basic shape and rough edges, covering the whole of it with gold foil, and finally the gray-black color rendered by graphite on the wood panel enhances the work's detail-based experience. During the creative process, Wensen managed to retain the material itself to the greatest extent and recreate it in a fossil-like way, which made the final work show a minimalist visual style – the object itself commands a beauty that that's strong enough.
Wensen QI 文森·漆 | Untitled 无题 | 2020 | 大漆，木板，旧米袋，金箔，石灰 Chinese lacquer, wood panel, old rice bag, gold leaves, graphite | 142 x 98 x 5 cm | #WQI071
此次展览的所有作品均为Untitled，名字的缺失更是增加了作品的无限定性，拓宽了作品的解读与体会空间。正如文森所说：“当我在作品上签名的时候，意味着这件作品已经完成了，但这并不意味着它属于我。所有人都可以在作品上投射他们的任何想法。”人们观看文森的作品，在“游物”中，不仅是获得对自然之物的审美体验，更是将焦点放于自身，在审美活动中获得对自我主体地位的发现和认识。
With all works presented in this exhibition being "Untitled", the absence of titles further adds to their infiniteness, broadening the space for interpretation and experience. As Wensen has said: "When I sign a work, it means that it has been completed, but that does not mean that it belongs to me. Everyone can project any of their ideas on the work." At Wandering, when people view Wensen's creations, what they acquire is more than an aesthetic experience of natural materials, but a focus on oneself that helps them decipher and understand of the status of the self as subject in aesthetic activities.
与漆同行
A Life Journey Associated with Lacquer
文化常常是文森身上的另一个标签。自2009年移居中国重庆，并在其后十余年内一心钻研漆艺，以及与漆艺相关的中国传统文化，文森的作品也经常被理解为东西方文化的融合。然而在文森看来，这也许是一种误读。对他来说，文化是一个如此宽泛与抽象的词，他并不认为自己可以确切了解其中的含义。文森同时表示：“我的创作过程中从来无关文明。作为一位艺术家，我认为，为这个世界增添一点美，就是让这个世界变得更好一些。”他鼓励大家跳脱出对文化、意义的追求，更纯粹和直接地去体验万物之中固有的美。
漆艺作为有着悠久历史的艺术形式，在当下中国也受到了极大的关注，现代漆艺的传承与发展，手工艺的创新与人才培养等也都是艺术界的热点问题。文森也受邀前去国内诸多艺术名校，如清华大学美术学院、四川美术学院等，就漆艺的现状与发展举行讲座。随着更多的交流与探讨，毫无疑问，漆艺将在未来迎来更多的可能性。
通过对文森·漆的作品以及其艺术理念的展现，杜梦堂试图为公众带来一个观看传统漆艺的全新视角。当下的场域中，传统媒介如何以当代语言进行艺术书写？文森·漆不仅仅只是以漆艺为创作媒介，更是在漆艺中不断实验、探索与融合，并试图将漆艺所代表的精神进行现代性的传达。
Culture is another tag usually found on Wensen Qi. Since moving to Chongqing, China in 2009, and devoting himself to lacquer art and related traditional Chinese culture for over a decade, Wensen's works are often understood as a fusion of Eastern and Western cultures. However, in his own eyes, this may be a misinterpretation. For Wensen, culture is such a broad and abstract term, the meaning of which he doesn't believe in accurately understanding. He has also said: "My creative process is never related to civilization. As an artist, I think that adding a little touch of beauty to this world is my way of making the world better." And he encourages everyone to jump out of culture and meaning, and experience the inherent beauty found in all materials in a more innocent and direct way.
Lacquer art, as a time-honored art form, has also been receiving widespread attention in modern China. The inheritance and development of modern lacquer art, the innovation of craftmanship and the cultivation of talents have all emerged as hot topics within the art community. That's why Wensen has been invited to visit numerous renowned art schools across China, such as the Academy of Arts and Design of Tsinghua University, Sichuan Academy of Fine Arts and the Sichuan Fine Arts Institute, to give lectures on the status and development of lacquer art. With more exchanges and discussions, there is no doubt that lacquer art will embrace more possibilities in the future.
By showcasing Wensen Qi's works and artistic ideas, Galerie Dumonteil Shanghai tries to provide the public with a new perspective to approach the traditional lacquer art. Within the current field, how should traditional media undertake artistic creation in contemporary languages? Never merely taking lacquer art as a creative medium, Wensen Qi is also constantly experimenting, exploring and integrating in lacquer art, trying to convey the modernity of the spirit that the artform embeds.
关于艺术家
About the Artist
髹行者 Lacquer Man，2019 ©謝光耀 ARJARN JIN
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文森·漆，1977年出生于法国图卢兹地区。
原名Vincent Cazeneuve，毕业于利维尔工艺艺术学院（Ecole des Metiers d’Art），随后建立自己的第一个工作室，并致力于西方与亚洲漆器的修复工作。为了进一步掌握漆画技法，于2009年移居中国重庆，一心钻研漆艺，以及与漆艺相关的中国传统文化。在学习过程中，文森逐步发展出其独特的艺术语言和审美，用看似简约实则繁复的语言对东西方文化兼容并蓄，并进一步探索将其他材料融入中国传统天然生漆创作装置作品的可能性，如苎麻帆布、麻绳、竹子、皮革等。同时，他还尝试汲取版画、浮雕印花、马赛克拼贴等其他艺术形式，使其作品拥有丰富的层次和触感。
其作品曾于清华大学美术学院(2020)；云南省博物馆(2019)；四川美术学院罗中立美术馆(2019)；巴黎中国文化中心(2017)；上海当代艺术双年展(2010)；法国Musée de Revel (2008)等公共艺术机构展出。
除了在杜梦堂，巴黎 (2019)；杜梦堂，上海 (2018)；Sin Sin Fine Art，香港 (2017)；布普瑞城堡 (Chateau de Beaupré), 罗讷河口 (Bouches-du-Rhône)，法国 (2015)；Roguet空间 (Espace Roguet)，图卢兹，法国(2014)等举办个展外。他的作品也曾亮相于香港Art Basel，Fine Art Asia，Art 021，Art Beirut等中外艺术博览会。
文森的作品已被纳入法国、意大利、美国、瑞士和中国等地的私人收藏。
Wensen QI (b.1977 in Toulouse, France)，birth name Vincent Cazeneuve, accomplished his studies at Ecole des Metiers d'Art in Revel before opening his first studio specialized in the restoration of Western and Asian lacquer wares. To acquire the full knowledge on lacquer art, Wensen moved to Chongqing, China in 2009 and committed himself to deciphering the secret of lacquer as well as the traditional Chinese culture around this particular form of art.
He gradually developed his own narratives and aesthetics from both occidental and oriental influences with his deceptively simple and yet complex language, and further explored the integration of lacquer with materials including ramie canvas, rope, bamboos, leather, etc. Wensen also adopts various texture effects, such as lithography, relief prints and mosaic collage, lending his artworks rich layers and tactile feelings.
His works have been exhibited at the Academy of Arts&Design, Tsinghua University, Beijing(2020); Yunnan Provincial Museum, Kunming(2019); Luo Zhongli Museum, Sichuan Fine Arts Institute, Chongqing(2019); Centre Culturel de Chine à Paris, Paris (2017); Shanghai Biennale in Power Station of Art, Shanghai(2010); Musée de Revel, France(2008) and other public art institutions.
In addition to his solo exhibitions at Galerie Dumonteil, Paris (2019); Galerie Dumonteil, Shanghai (2018); Sin Sin Fine Art, Hong Kong (2017); Chateau de Beaupré, Bouches-du-Rhône, France (2015); Yenakart Villa Art Gallery, Bangkok (2015); Espace Roguet, Toulouse, France (2014), etc. Wensen's works have been widely exhibited at art fairs both nationally and internationally, including Art Basel Hong Kong, Fine Art Asia, Art 021, Art Beirut. His works have also been acquired by private collectors in France, Italy, the US, Switzerland and China.