重磅新展 UPCOMING | 苔丝·杜蒙 Tess DUMON「明日，拂晓时分」| 杜梦堂 上海
Video directed by Adrien Boyer, ©DUMONTEIL and the artist
Tess DUMON
Demain dès l'aube
「Tomorrow at Dawn」
苔丝·杜蒙：明日，拂晓时分
2023.11.04 - 2024.01.06
上海市衡山路199号永平里105栋
Bldg 105, 199 Hengshan Rd. Shanghai
[1] Demain dès l'aube是法国作家维克多-雨果最著名的诗歌之一。这首诗发表于雨果 1856 年的诗集《沉思集》中。这首诗由三个押韵的四行诗组成。这首诗描述了雨果在女儿莱奥波尔丁·雨果去世四年后去扫墓的情景。
In Hugo’s Demain, dès l'aube [1], a masterpiece of French literature, it is not until the last two verses that we discover he will visit a woman’s grave, a woman he loved with his heart and soul. However, even before the ending, we have already perceived the author’s longing with deep sorrow. There seems to be a link between these lines and our perceptions. What we feel is clearly beyond our own experience. This inexplicable link is also the key to entering Tess Dumon’s creative universe.
[1] Demain, dès l'aube (English: Tomorrow at dawn) is one of French writer Victor Hugo's most famous poems. It was published in his 1856 collection Les Contemplations. It consists of three quatrains of rhyming alexandrines. The poem describes a visit to his daughter Léopoldine Hugo's grave four years after her death.
当我们漫步于这些作品中，你会发现某些主角（牧羊人、骑马者和一个衣着不变的神秘男孩）和符号（太阳、贝壳、游隼）在二维和三维作品中反复出现，如二重奏一般，相得益彰。近年来，随着艺术家将大量时间和精力投入到以用色为主的绘画创作中，这种不同媒介艺术作品之间的对话成为其重要的发展方向。如今，杜蒙的雕塑和绘画在形式和深度上彼此呼应，相辅相成。
Walking around these works, one may notice some protagonists (the shepherd, the rider, and a mysterious boy wearing the same simple outfit) and symbols (the sun, the shell, the peregrine) recur in both two-dimensional and three-dimensional works like a duet that complement one another. This dialogue between artworks in different mediums is a significant development in recent years as the artist invested her time and energy considerably in painting. Today, Dumon's sculpture and painting respond in form and depth.
面对这些令人着迷的水粉画作，尽管我们无从得知每幅作品背后的故事，却依然被深深吸引：或许是因为在《明日，拂晓时分》中那些舞动的极光点亮了整片原野，令人如痴如醉，亦或是因为《雪笼皎马》中那些将惺惺相惜的男孩与白马层层围裹的温暖雪花。而在《牧羊人的外套》中，我们仅通过主人公的背影就感受到了他此刻脆弱的内心。然而转念一想，也许是我们自己在艺术家以图像转换情感的超凡能力下，陷入了多情而易感的瞬间。
In the captivating gouache paintings, although we do not know what is the story behind each work, we are attracted, perhaps by the mesmerizing dancing aurora that lights up the field in Demain, dès l'aube, or by the palpable warmth of the swirling snow that coated the bonding moment between the boy and the horse in Snow Coat and Moon Horse. And we seem to know how vulnerable the man must feel without seeing his face in Shepherd’s Coat. On second thought, perhaps it was us who were caught in a susceptible moment under the artist’s uncanny ability to transform emotions with images.
这种能力在她引人入胜的大型雕塑作品中同样适用，甚至更为明显。当我们围着每件作品走动，试图窥其全貌，光线随着我们移动的脚步在不锈钢丝网构成的光滑轮廓上闪烁变幻，这种感觉几乎是超现实的。不知不觉中，我们实现了艺术家将观看本身变为一场表演的想法。一番细查之下，我们依然很难相信所有这些大型作品都是一个人用简单的工具手塑而成的，更令人惊讶的是，我们所体会的一系列复杂的情感是透过这些冰冷、粗糙、空洞的材料来传递的。
And this ability applies equally, if not more, in her fascinating monumental sculptures. When circling each work to get a whole look, it feels almost surreal as the lighting on the smooth contour made of wire mesh shifts with our footsteps. Unconsciously, we fulfilled the artist's idea of turning the viewing process into a performance. Upon closer scrutiny, one may find it hard to believe that all these large-scale works were hand sculpted with simple tools by one person, and more surprisingly, that we are caught by a complexity of emotions that do not seemingly belong to this cold, coarse, hollow material.
毫无疑问，这里所描绘的一切都源于神话和传说，有的相较其他更具象征意义。杜蒙从小就喜欢上了这些故事，背后的缘由和这些故事能被传颂千年的根本原因是相通的——为了应对生活中必须面对的意外和未知。每个文明都有自己的神话和传说。这种既独特又普遍的创造力在某种程度上也有着艺术的影子。时至今日，这种神话色彩不仅是艺术家灵感的源泉或回答问题的方式，也是其创作手法的重要组成。
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Tess DUMON | 苔丝·杜蒙（b.1990)“Goodbye”, Guillaume Apollinaire | 纪尧姆·阿波利奈尔《别离》
2023Gouache and gold leaf on paper纸上水粉，金箔42 x 29.7 cm
Tess DUMON | 苔丝·杜蒙（b.1990)“Elsa”, Louis Aragon | 路易斯·阿拉贡《艾尔莎》
2023Gouache and gold leaf on paper纸上水粉，金箔42 x 29.7 cm
Tess DUMON | 苔丝·杜蒙（b.1990)“Quicksands”, Jacques Prévert | 雅克·普雷维尔《流沙》
2023Gouache and gold and silver leaf on paper纸上水粉，金箔，银箔42 x 29.7 cm
创造属于自己的神话也让艺术家能够自由运用各种图像和文字的内涵、意象和象征。在本次展览中，“旅程”和“黎明”的概念通过一系列化学反应般相互关联的意象和符号得到了广泛的探索。例如，“游隼”，一种长途迁徙的猎鹰，被作为表现漫长的旅途、对目的地和自由的渴望等意象的集合。游隼（peregrine）一词也指流浪者，是“朝圣者（pilgrim）”的起源，从而引出了《好的牧羊人》、《朝圣者的诞生》等关于神圣旅程的探索，也为希望、指引和保护的普遍追求开辟了新的道路。
Creating her own myths also allows the artist to freely embrace connotations, imagery and symbols that extend beyond the mundane world. In this exhibition, the notion of “journey” and “dawn” has been broadly explored through imageries and symbols interrelated like a series of chemical reactions. For example, “The Peregrine”, a long-distance migrant falcon, has been integrated into the representation of travelling, the longing for destination and freedom. The word “peregrine” means wanderer, and it is the origin of the word “pilgrim”, which opens new paths to those sacred journeys in the Good Shepherd, the Birth of the Pilgrim, as well as the quest for hope, guidance and protection in general.
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Tess DUMON | 苔丝·杜蒙（b.1990)“Song of the Birdcatcher”, Jacques Prévert | 雅克·普雷维尔《捕鸟者之歌》
2023Gouache and silver leaf on paper纸上水粉，银箔42 x 29.7 cm
Tess DUMON | 苔丝·杜蒙（b.1990)“The Valley”, Marceline Desbordes-Valmore | 马塞琳·德博尔德-瓦尔莫《山谷》
2023Gouache and silver leaf on paper纸上水粉，银箔42 x 29.7 cm
Tess DUMON | 苔丝·杜蒙（b.1990)“The One”, Paul Eluard | 保罗·艾吕雅《唯一》
2023Gouache and gold leaf on paper纸上水粉，金箔42 x 29.7 cm
主人公的服装成为了将这些见解相互关联的另一重要组成。这一近期才着手探索的元素已成为其创作发展的助力，将她的作品推向新的可能。斗篷与贝壳有着相似的内涵——包裹与保护，而斗篷被风掀起的褶皱则被视作张开的翅膀，从而将我们带回到了游隼的意象。整个展览中还有更多类似的关联网络。我们只能惊叹这些符号和想法竟能实现在语言和形态这两个范畴的双重连接。
这场由艺术家和观众共同经历的身心之旅，恰逢我们逐渐走出新冠大流行的阴霾，却又不得不面对全球局势的动荡。它提醒着我们感知与情感之间千丝万缕的联系，应对困难的最佳方式或许是在想象中释放它。
Another essential component that ties these insights together is the protagonist's garment. This newly explored element has become another development that takes her work to new possibilities. The cloak shares a similar connotation as the shell — one that envelopes and protects, while comparing its drapes lifting by the wind to the spreading wings, thus taking us back to the peregrine. There are more associated networks like this throughout the exhibition. We can only marvel at how these symbols and ideas are morphologically connected, both linguistically and biologically speaking.
This journey, both physical and spiritual, is for the artist and the viewers as we gradually emerge from the haze of the COVID-19 pandemic while facing a volatile global situation. It reminds us of the inextricable connection between our perceptions and emotions. And sometimes, the best way to cope with difficulty is to set it free in our imagination.
杜梦堂(上海)此次苔丝·杜蒙个展「明日，拂晓时分」的开幕酒会定于11月4日(周六)下午4时至晚间8时举办。欢迎大家关注这次展览。
The opening reception of Tess DUMON's solo exhibition Demain, dès l'aube at DUMONTEIL Shanghai is scheduled for Saturday, November 4th from 4 pm to 8 pm. You are more than welcome to visit this exhibition.
关于艺术家
ABOUT THE ARTIST苔丝·杜蒙 (Tess Dumon，生于1990年，法国) 先后毕业于英国伦敦的中央圣马丁学院 (Central Saint Martins) 和皇家艺术学院 (The Royal College of Art)。艺术家曾在巴黎和上海多次成功举办个展，其作品还曾展出于英国皇家赛马会(Royal Ascot)和浪琴表马术大师赛(Longines Masters)，佳士得Paris Tout P’tits慈善拍卖，莱佛士皇家巴黎梦索酒店(Le Royal Monceau-Raffles Paris)等。
苔丝·杜蒙的作品涵盖了不同的媒介，包括绘画，雕塑和装置等。她善于通过神话式的隐喻和个人的梦想世界，将她生活周遭的悲喜剧故事转化为在作品中深埋的线索，通过制作气场强大的场域，试图将观众置于作品的核心，令其忘却世俗世界。
Tess Dumon (b.1990, France) graduated from Central Saint Martins and from the Royal College of Art. Following several successful solo exhibitions in Paris and Shanghai, Dumon’s work has been exhibited in Royal Ascot, Longines Masters, Christie’s Paris Tout P'tits Charity Sale, Le Royal Monceau-Raffles Paris, etc.
Tess Dumon’s work evolves on different mediums including painting, sculpture, and drawings. She aims to transform the tragic and dramatic history of the life around her into hints through mythical metaphors and a personal dreamscape. Tess Dumon places the audience in the centre of her work with an atmosphere so powerful that people forget the mundane world.