杜梦堂(巴黎)新展 Vincent CAZENEUVE「Transmutation 嬗变」
Vincent CAZENEUVE
Transmutation
2023.09.07 - 10.04
DUMONTEIL Contemporary8 rue d'Aboukir 75002 ParisDUMONTEIL Contemporary is pleased to present Transmutation, the solo exhibition of French artist Vincent CAZENEUVE. The show features twenty of the artist's most recent works, all created in the Chengkou mountain areas of Chongqing China, showcasing how his artistic language—using lacquer at its core—has evolved in the past four years since his last presentation in the Paris art scene.
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Untitled | 无题
2023Chinese lacquer, jute rice bag (assembled on wooden structure)大漆，旧米袋，木架137 x 135 x 9 cm
"最新"或许并不是对这些作品最恰当的描述，因为文森·漆的创作向来都不是按照时间顺序推进的。在这些作品中，我们可以找到他四年前开始创作的钩针黄麻织物，十年前完成刺绣的苎麻织物，更不用说艺术家在遇见中国大漆之前很早就开始研究的漆器历史了。在这里，我们所看到的是成熟的果实，就像大自然中的万物一样，每一个果实的生长和成熟都需要不同的时间。
Perhaps “the most recent” is not the best description for these works as Vincent Cazeneuve does not work in chronological order. Among these works, we can find a piece of crocheting jute that the artist started working on four years ago, and a ramie fabric he did embroidery on ten years ago, not to mention the history of lacquer which the artist had been studying long before he encountered Chinese lacquer in the flesh. What we see here are the ripened fruits, each of which takes a different amount of time to grow and mature, just like everything else in the course of nature.
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Untitled | 无题
2023Chinese lacquer, jute rice bag, 24k and 18k gold leaves, oxidized iron powder (assembled on wooden structure)大漆，旧米袋，24K与18K金箔，氧化铁粉，木架144 x 103 x 8 cm
我的创作是有机发展的，可以说是达尔文式的，由进程中的意外所滋养的持续变异。而这些意外则源自我的各种研究和实验。
—— Vincent CAZENEUVE文森·漆
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Untitled | 无题
2023Chinese lacquer, jute rice bag, iron powder (assembled on wooden structure)大漆，旧米袋，铁粉，木架122 x 101 x 10 cm
毫无疑问，这里展示的作品源于大漆——这一用途广泛的独特媒介为艺术家的探索提供了无尽的可能。然而，细查之下，我们很难将最终的作品与艺术家的灵感来源或研究课题联系起来，全因他将这些灵感精心“织”入了他那看似简单实则高深的艺术表达之中。例如，传统的黑漆描金工艺只用深浅不同的金色做精细的纹样绘制，而文森则欣喜地探索金、铜、锡、铁等金属色混合的可能，而他所描绘的抽象线条和符号仿佛属于某个未知的文明。
No doubt, what is presented here has its roots in lacquer — a medium so versatile that provides the artist with an endless quest for exploration. However, when examining closely, one can hardly connect the final work with the source of the artist's inspiration or research subject as he carefully ‘weaves’ them into his deceptively simple yet complex language. For instance, the traditional gilt on black lacquer technique uses only different shades of gold on detailed drawings, whereas Cazeneuve enthusiastically explores a mixture of metallic colour including gold, bronze, tin and iron with abstract lines and symbols that seems to belong to unknown civilizations.
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Untitled | 无题
2023Chinese lacquer, crochet weaving by the artist with jute, jute rice bag, gold leaves, tin powder, iron powder (assembled on wooden structure)大漆，艺术家手制黄麻钩针织物，旧米袋，金箔，锡粉，铁 粉，木架160 x 100 x 20 cm
Walking around these works, we may soon find ourselves lost in an aesthetic complexity when delving into the myriad of patterns, textures and shades of color as each part of the work interacts and contrasts with each other. These works have stirred our senses more than usual pictorial creations through their diverse form and materiality.
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Just as each work is untitled — a clear declaration that they do not belong to the world of language, it is never the artist’s intention to educate the viewer on a certain history or technique of the art of lacquer. It is all about perceiving, and hopefully, evoking interest, delight, or even ecstasy, the same sensation that the artist has felt when transforming the materials in his hands, a sense of touch that we have gradually lost during the progress of modernity.
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This longing for building an emotional connection with the material is not about reminiscence of the past, but it is about putting our own existence into being and into the perspective of nature/universe. In this sense, lacquer is perhaps one of the most appropriate materials of representation with its history of usage dating back to about 8,000 years. And Cazeneuve’s thoughts on the source of this medium—the lacquer tree and its harvester—have taken his creations further.
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在由 120 把漆勺组成的作品中，文森完成了他对漆树生命周期的致敬。当一棵漆树被采割四次后，就会慢慢枯死；但如果有人在其垂死前将其砍断，它的树干就能获得第二次健康成长的机会。艺术家思索着这一大自然的奇迹，决定把他工作室旁两棵美丽的漆树砍掉，它们都已被采割过四次。然后，他从我们最常用的食器形状中找到了灵感，并将这些“伤口”累累的木料改造成了一个漆勺种族，每个既相似又各不相同。当他用自己从这两棵漆树上采割收获的大漆来装饰它们时，象征生命的循环就达成了。
文森·漆想要向今天、明天乃至未来几个世纪的人们呈现的正是这种嬗变的奇迹。
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Vincent CAZENEUVE | 文森·漆 (b.1977)
In his work consisting of one hundred and twenty large spoons, Cazeneuve paid tribute to the life circle of a lacquer tree. After a lacquer tree has been harvested four times, it dies slowly; but if someone cuts it before it dies, it earns a second chance to grow into a healthy trunk. Pondering this marvel of nature, the artist decided to cut down the two beautiful lacquer trees beside his studio, both of which have been harvested four times. Then he found his inspiration from the shape of a spoon, one of the most commonly used objects, and transformed these pieces of wood with accumulated cuts into a species of spoon, each similar and different in its own right. When he decorated them with the lacquer that he had harvested himself from these two trees, the circle was complete.
This wonder of transmutation is what Vincent Cazeneuve hopes to give the viewers today, tomorrow, and for the centuries to come.
Artwork Photo ©Xiaobai, ©Baptiste Mourrieras
Poster Image ©Baptiste Mourrieras
杜梦堂巴黎空间DUMONTEIL Contemporary此次文森·漆个展「嬗变」的开幕酒会定于9月6日(周三)晚间6时至9时举办。欢迎大家关注这次展览。
The opening reception of Vincent CAZENEUVE's solo exhibition Transmutation at DUMONTEIL Contemporary Paris is scheduled for Wednesday, September 6th from 6 pm to 9 pm.
关于艺术家
ABOUT THE ARTIST文森·漆 Vincent Cazeneuve（1977年出生）是一名以大漆为主要创作媒介的法国艺术家。
在法国完成学业后，他曾创立工作室专注于西方与亚洲漆器的修复工作，后于2009年移居中国重庆，一心钻研漆艺，以及与其创作相关的中国传统文化和手工技艺。
文森·漆的作品曾在国内外艺术机构广泛展出，其中包括重庆悦来美术馆(2023)，湖北美术馆(2023)，上海chi K11美术馆(2022)，厦门红顶当代艺术中心(2022)，成都许燎源现代设计艺术博物馆(2021)，北京清华大学美术学院(2020)，云南省博物馆(2019)，四川美术学院美术馆(2019)，法国巴黎中国文化中心(2017)，法国勒韦艺术与工艺学院(Revel IMARA，2013)，上海当代艺术双年展(2010)等。同时，文森的作品已被纳入法国、意大利、瑞士、美国和中国等地的私人收藏。
Vincent Cazeneuve (b.1977) is a French artist using Chinese lacquer as his primary medium of creation.
After completing his studies in France, he created a studio specializing in the restoration of Western and Asian lacquerware. He has been living in Chongqing, China since 2009 to decipher the secret of lacquer and traditional culture and craftsmanship essential to his work.
He gradually developed his narratives and aesthetics from both occidental and oriental influences with his deceptively simple yet complex language while relentlessly exploring non-traditional supports such as old rice bags, wool felt, and leather. He also tries to draw on other art forms such as lithography, relief carving, collage, and traditional crafts such as hand-weaving and bamboo weaving, lending his work rich layers and tactile feelings.
Vincent Cazeneuve’s work has been widely exhibited in art institutions in China and abroad, including Yuelai Art Museum, Chongqing(2023), Hubei Art Museum(2023), Chi K11 Art Museum, Shanghai(2022), TCCA, Xiamen(2022), XLY MoMA, Chengdu (2021), the Academy of Arts and Design of Tsinghua University, Beijing (2020), Yunnan Provincial Museum (2019), Art Museum of Sichuan Fine Arts Institute (2019), Chinese Cultural Center, Paris, France (2017), Revel IMARA, France (2013), Shanghai Biennale of Contemporary Art ( 2010), etc. His work has also been included in private collections in France, Italy, Switzerland, the United States, and China.