展讯 | “选集/类比”——意大利艺术家保罗·治奥利个展
Excerpted from Quando l'occhio trema
1991, 16mm, sil., b&w, 12'48"
节选自《当眼睛震动时》
1991年，16毫米，无声，黑白，12'48"
ANTHOLOGICAL/ANALOGUE
选集/类比
Films and photographic works (1969-2019)
电影及摄影作品（1969年至2019年）
Artist
艺术家
Paolo Gioli
保罗·治奥利
curators
策展人
Bruno Di Marino , Rosario Scarpato
布鲁诺·迪·马里诺、老罗
Organizer
主办
Cineclub Canudo
卡努多协会
Co-organizer
协办
Three Shadows Photography Art Centre
三影堂摄影艺术中心
Supporter
支持
Project supported by the Italian Council (8th Edition, 2020), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture
本项目由意大利文化部当代创新总司（2020年第八届）支持，旨在全球推广意大利当代艺术。
Opening
开幕时间
26.06.2021
2021年6月26日
Duration
展览日期
26.06 – 29.08.2021
2021年6月26日至8月29日
Address
地址
Three Shadows Photography Art Centre, Beijing
北京市朝阳区草场地155A
关于展览
About the exhibition
三影堂摄影艺术中心将荣幸呈现意大利艺术家保罗·治奥利的个展。本次展览由布鲁诺·迪·马里诺教授和老罗策展，是继2007年艺术家在意中艺术工作室798空间中国首展的第二次国内展览。
Three Shadows Photography Art Centre is honored to launch a great show of the Italian artist Paolo Gioli curated by prof. Bruno Di Marino and Rosario Scarpato. This is the second exhibition of the artist in China after the successful show organized by offiCina Beijing in its art space at the 798 Art Factory in 2007.
题为“保罗·治奥利：选集/类比”的展览项目由安东尼奥·穆席（Antonio Musci）和丹妮拉·迪·尼索（Daniela Di Niso， 卡努多协会）组织，包括两场在意大利和一场在中国的展览，同时将组织一系列关于艺术家1969年至2019年实践的展览活动。治奥利的主要藏家保罗·瓦帕（Paolo Vampa）为展览提供了大部分的作品。展览图录由席尔瓦那出版商（Silvana Editoriale）出版，收录了数位国际艺评家和学者的三语文章。
Paolo Gioli: Anthological/Analogue is organized by Antonio Musci and Daniela Di Niso (Cineclub Canudo) and consists of three exhibitions, two in Italy and one in China, together with a series of side events on the artist’s practice (1969-2019). Most of the artworks are supplied by Paolo Vampa, Gioli’s main collector. Published by Silvana Editoriale, the catalogue contains essays in three languages by several international art critics and scholars.
From the series Omaggio impuro a Bayard
选自向巴耶尔不纯粹的致敬系列
1983，70 x 55 cm
Polaroid color print transfer on drawing paper. Pinhole photograph
由彩色宝丽来转印至画纸，针孔成像
此次展览将于6月26日至8月29日在中国呈现100多件优秀作品。展览分为四个板块：“自然、身体、面孔、媒介”，除了展现大小不一的宝丽来摄影作品之外，还将进行相关主题电影作品的展出。为了与美术馆的包豪斯建筑结构相融合，展览采用了线性的参观路线，让观众更好地体验技术、设备和语言之间的转换。因此，治奥利创作中的人体、胸部、躯干、静物（花朵、树叶），分解和重组的面孔，向先驱艺术家的致敬（19世纪大师如马雷、卡梅伦、伊肯斯和他胶片帧中的石板印刷），将我们所处的现实与艺术家想象的世界进行并置。在某些作品中，如以希腊和罗马的肖像学为主题的“发光”系列摄影作品，治奥利选择以古典艺术形式来有效地表现其想象中的内容。展厅的六个放映区的作品将展现一份对于艺术家电影创作的完备调研。他的电影创作，除了极少数例外，都使用胶片拍摄手段，并在创作中采用了类比的方式。其中，最具实验性的影片，如Film stenopeico或Filmfinish是用拆除重要组件的相机，甚至在不使用相机的情况下拍摄的（动画、旧片重制、针孔拍摄、照片加工、定格动画、遮幅等)。
With more than 100 outstanding works, the show has finally moved to China from June 26 to August 29. It is divided in four sections, Nature Body Face Medium, featuring big and small Polaroids displayed in dialogue with several films whose themes are very much connected to them. To be nicely adapted to the architectural Bauhaus-structure, the exhibition has been set up following a linear itinerary so that the visitor can experience the trespassing between techniques, devices and languages. Therefore, Gioli’s bodies, chests and torsos with his still lives (flowers, leaves), his decomposed and recomposed faces, his thoughts towards the pioneers (homage to XIX century’s masters such as Marey, Cameron, Eakins and the lithographs from his film frames) create a constant parallel between our reality and those imaginary worlds of the artist. In some cases, such as the Luminescenti photos, whose main subject is represented by Greek-Roman iconography, the very same classical art is the effective matter of Gioli’s choice to be elaborated in his imagination. An almost complete survey of Gioli films will be also screened in the photography center in six projection’s areas. All his films, with very few exceptions, were made in analogue, using film-stock. The most experimental ones, like Film stenopeico or Filmfinish were realized with a camera deprived of its essential components or with no camera at all (animation, found-footage, pinhole shootings, elaborations from photos, stop-motion, mattes, etc).
From the series L 选自L系列
1997，60 x 50 cm
Polaroid 宝丽来
保罗·治奥利身兼画家、摄影师、电影制作人，是过去几十年间最具创新精神的意大利艺术家之一。最重要的是，他在各个不同的领域，都能以同样优秀的技能广泛实验，同时通过重组设备，改造甚至移除部件的手段进行新的尝试。他的实验电影、绘画和摄影作品被芝加哥艺术学院、纽约现代艺术博物馆、蓬皮杜艺术中心、巴黎欧洲摄影博物馆、意大利现代艺术博物馆、罗马国际绘图研究所等重要公共机构收藏。近期，他的摄影作品进入了梵蒂冈博物馆的当代艺术收藏。他多面性的创作跨越了五十余载，尽管极具多样性，但仍然保持统一。他的审美受到了十九世纪影响先驱作品的两种媒介的影响，在当时，摄影仍在发展，电影尚未发明。因此，艺术家在十分早期就能够在静止和动态影像之间展开对话，并产生了引人深思的结果。正是为了强调这位“媒介考古学家”内心深处的单纯本性，展览标题中加入了“类比”这一形容词。
Painter, photographer, film-maker, Paolo Gioli is one the most innovative Italian artists of the last decades. Above all, for his ability to experiment with equal skillness in different fields, also by altering his devices, removing parts of or even eliminating them. His experimental films as well as his paintings and photographs are in the collection of several prime public institutions such as the Art Institute of Chicago, the Museum of Modern Art in New York, the Centre Georges Pompidou and the MEP (Musée Européen de la Photographie) in Paris, the Galleria Nazionale d’Arte Moderna and the Istituto Nazionale per la Grafica in Rome. Lately, his photographs have entered even in the Collezione Arte Contemporanea of the Vatican museum. A multifaceted production, spreading over more than fifty years, which, although very diversified, remains consistent. His aesthetic is connected to the origin of the two medium that means to the works of the pioneers of the XIX century when photography was still developing and the cinema was yet to be invented. A very early stage, therefore, where the artist is able to facilitate a dialogue between fixed and moving image with surprising and stimulating results. It is to highlight that deeply unsophisticated nature, an archaeologist of media, that the adjective “analogue” has been added to the title of the show.
From the series Botanic specimen
选自植物标本系列
1988，25 x 17 cm
Polaroid color print type 59, applied on drawing, paper
59型号彩色宝丽来转印至画纸
此前，“选集/类比：电影和摄影作品（1969年至2019年）”于2021年3月5日至5月9日在莱切阿普利亚大区最古老的考古博物馆卡斯特罗·梅蒂亚诺博物馆展出了近200件作品，主要包括巨型宝丽来、电影和石板印刷作品，以突显博物馆展出藏品与当代艺术之间的对比。该项目的平行展览“只是屏幕”于3月6日在比谢利市十六世纪的图普蒂宫大厅展出，呈现了治奥利在七十年代创作的一系列丙烯和丝网画。它们与文艺复兴时期的场所和华丽的宫殿壁画建立起某种讨论。这些作品来源于他电影的胶片 (《精神创伤》或《被寄生虫严重干扰的图像》)和/或他的摄影作品（针孔摄影或条带摄影），两者将形成一种关于主题性和创作过程的交流。
Previously, ANTHOLOGICAL/ANALOGUE Films and photographic works (1969-2019) was hosted in Apulia region’s most ancient archeological museum, Castromediano, in Lecce from March 5 to May 9, 2021 displaying almost two hundreds works, mainly large Polaroids, films and portfolios of lithographic prints to highlight a confrontation between the pieces of the collection the museum is showing with the contemporary art. The second leg of the project opened on March 6 in the XVI century’s halls of Palazzo Tupputi in Bisceglie. Just Screens presented a series of acrylic and silk-screen paintings made by Gioli during the 70’s. They established a sort of discussion with both the Renaissance venue and the frescoes of the beautiful Palace. As an alchemical exchange of themes and processes, these works are derived from frames of his films (Traumatografo or Immagini disturbate da un intenso parassita) and/or from his photographic works (pinhole or strip photographs).
From the series Fiori secchi
选自干花系列
1997，50 x 35 cm
Polaroid b/w print transfer on drawing paper
由黑白宝丽来转印至画纸
关于艺术家
About the artist
保罗·治奥利（Paolo Gioli）1942年10月12日出生于意大利罗维戈（Rovigo）的萨扎诺（Sarzano）。1960年，治奥利开始了在威尼斯数年的定居生活，并就读于当地的美术学院（Academy of Fine Arts）。1967年，他前往纽约并留驻一年。曾获得波士顿约翰·卡伯特基金会（John Cabot Foundation of Boston）的研究资助，结识了艺术品经销商利奥·卡斯特利（Leo Castelli）和玛莎·杰克逊（Martha Jackson）。在美国，他还接触了“新美国电影”。
Paolo Gioli was born in Sarzano (Rovigo) on 12 October 1942. In 1960, Gioli settled for a few years in Venice, where he attended the Scuola Libera del Nudo, part of the Academy of Fine Arts. In 1967, he travelled to New York, where he remained one year. He received a study grant from the John Cabot Foundation of Boston and met with art dealers Leo Castelli and Martha Jackson. In America, he also discovered the “New American Cinema.”
From the series Omaggio a Niépce 选自向尼普斯致敬系列
1982，35x25cm
Assemblage of Polaroid type 59 and Polaroid color print transfer on silk, applied on drawing paper, graphite and pastels 由多张59型号的彩色宝丽来转印至丝绸布，拼贴于画纸，石墨，蜡笔
1970年，他搬至罗马后接触到了独立电影合作社（Cooperativa Cinema Indipendente）。治奥利穿梭于罗马和罗维戈两地之间，跟随卢米埃尔兄弟的脚步，把相机作为他的实验室，独立制作出了他最初的一批电影。1976年，治奥利移居米兰。在那里，除了制作电影以外，他加深了对摄影的兴趣。值得注意的是，治奥利发现可以使用宝丽来这种非常灵活的手段来进行他的摄影研究。此外，通过将材料转移到纸张或画布等非胶片的载体上，治奥利将宝丽来提升到了美术的水平。
In 1970, he moved to Rome, where he got in touch with Cooperativa Cinema Indipendente. It was between Rome and his home near Venice that he produced his first films, which he developed himself, using a camera as his laboratory, following in the footsteps of the Lumières. In 1976, he moved to Milan, where, in addition to making films, he also deepened his interest for photography. Notably, Gioli found the Polaroid to be a surprisingly flexible means with which he could carry out his research in photography. Moreover, by transferring the film onto support other than the original, such as onto paper or canvas, Gioli elevated the Polaroid to the level of the fine arts.
Questo volto non è il mio volto, from the series Vessazioni
这不是我的面孔
2010，70 x 55 cm
Polaroid color print and Polaroid transfer on acrylic
由彩色宝丽来和宝丽来转印至丙烯
20世纪80年代初，治奥利的摄影活动开始获得重要机构的认可：意大利国立绘图研究所（Istituto Nazionale per la Grafica）（1981年）、巴黎蓬皮杜中心（1983年）、阿尔勒国际摄影节（Rencontres Internationales de la Photographie in Arles）。他曾多次受邀在阿尔勒参展，如阿尔勒勒杜博物馆（Arles’ Réattu Museum ）（1987年）。他的作品还曾作为国际摄影经销商协会（ the Association of International Photography Art Dealers）博览会图录的封面。2006年，Rarovideo发行的双盘DVD精选了治奥利的14部电影。同年，他的电影在纽约电影节（New York Film Festival）实验电影特别项目“先锋视角”（Views from the Avant-Garde）中首映。之后的几年，他的作品连续在这一项目中亮相。
In the early eighties Gioli began to get significant recognition for his activities in photography: with a solo show at the Istituto Nazionale per la Grafica di Roma (1981), at the Centre Pompidou in Paris (1983), at the Rencontres Internationales de la Photographie in Arles – a city where he was invited to exhibit several times, including a solo exhibition at Arles’ Réattu Museum (1987). His work was featured on the cover of the Association of International Photography Art Dealers’ AIPAD) fair’s catalogue. In 2006, Rarovideo published a two-set DVD with a selection of fourteen of his films. That same year, Gioli’s films were showcased for the first time in Views from the Avant-Garde, the New York Film Festival’s specialized program for experimental film, where Gioli would consistently present his work in subsequent years.
From the series Volto più linea
选自面孔与线条系列
1994，35 x 25 cm
Cibachrome, applied on drawing paper
西巴克罗姆转印至画纸
次年，他受邀作为“聚焦艺术家”参加第44届香港国际电影节（Hong Kong International Film Festival）。自此，治奥利每年都受邀在该电影节上展出他的最新作品。2008年，治奥利的电影选集在多伦多安大略省电影馆（Ontario Cinémathèque）展出。随后，他参加了多伦多国际电影节（Toronto lnternational Film Festival）的先锋单元“波长”。2009年6月，佩萨罗电影节（Pesaro Film Festival）和次年在巴黎法国电影馆（Cinémathèque Française）的活动全面回顾了治奥利的电影，以向他致敬。2009年12月，罗马电影研究中心（Centro Sperimentale di Cinematografia）出版了一本专著，总结了他作为电影制作人的贡献。2014年夏天，美国艺术杂志《艺术论坛》刊登了一篇关于他的重要专题文章。
That following year, Gioli was invited as an artist on focus to the 44th Hong Kong International Film Festival, where he was since then invited each year to present his latest work. In 2008, a selection of his films were presented at the Ontario Cinémathèque in Toronto. He subsequently participated in the Toronto lnternational Film Festival’s avant-garde section, Wavelength. In June 2009, the Pesaro Film Festival paid a tribute to Gioli with a complete retrospective of his films, as did the Cinémathèque Française in Paris the following year. In December 2009, the Centro Sperimentale di Cinematografia (CSC) in Rome published a monograph on his work as a filmmaker. In the summer of 2014, the American art magazine Artforum featured a major article on him.
Volto
面孔
1988，Size invented by the artist, 40 x 35 cm
Polaroid color print. Size invented by the artist
彩色宝丽来
2015年，治奥利的第二张DVD开始发行。作为作品全集，它再次由Rarovideo出版，两个版本分别面向欧洲和美国市场。同年，治奥利参加了第56届威尼斯双年展国际艺术展（ International Art Exhibition of the Venice Biennale），在意大利馆展出了他的作品选集。继各大博物馆和美术馆举办的一系列个展之后，在2020年，由菲利普·杜布瓦（Phlippe Dubois）和安东尼奥·索马尼（Antonio Somaini）为首的巴黎第三大学（Sorbonne III）教授团队，出版了一本法语版的治奥利全集，名为《保罗·治奥利：野生印象》(Paolo Gioli：Impressions sauvages)，由实质出版社（Les Presses du Réel）编辑。治奥利的电影由罗马电影实验中心（Centro Sperimentale di Cinematografia）和巴黎光孔电影中心（LightCone）发行。其作品由罗马凯姆巴洛画廊（Galleria del Cembalo）代理。治奥利目前在伦迪纳拉（Lendinara）生活和工作（www.paologioli.it）。
In 2015, a second DVD was released with his complete works, again, published by Rarovideo with two editions: one for the European market and another for the American one. That same year, Gioli participated in the 56th International Art Exhibition of the Venice Biennale, where he presented a selection of his works at the Italian Pavilion. After a series of solo exhibitions at various museums and art galleries, in 2020, a team of professors from the Sorbonne III headed by Phlippe Dubois and Antonio Somaini published a volume in French on Gioli’s complete works entitled, Paolo Gioli. Impressions sauvages, edited by Les Presses du Réel. Gioli’s films are distributed by Centro Sperimentale di Cinematografia in Rome and by LightCone in Paris. For his artworks, Gioli is represented by Galleria del Cembalo in Rome.
Gioli currently lives and works in Lendinara, Italy (www. paologioli.it).
关于策展人
About the curator
老罗
1988年至2012年，在中国生活和工作。
2002年，他在北京798艺术区成立了offiCina意中艺术工作室。截至2012年，他与政府机构、美术馆、博物馆和私企合作，组织了50多场艺术展览与文化活动。
老罗帮助意大利的国家机构、博物馆、美术馆、收藏家和私人公司与中国建立起文化桥梁。他与公共和私营机构合作，举办讲座，策划和组织意大利与中国、远东国家的当代艺术展览、文化活动和视频、电影放映活动。目前，他特别专注于与欧洲委员会（斯特拉斯堡）和意大利文化部在罗马合作的意大利、欧洲和中国之间的国际艺术、设计与建筑项目。
Rosario Scarpato
Lived and worked in China from 1988 to 2012.
He set up an art gallery, offiCina Beijing in 798 factory from 2002 till 2012 curating more than 50 exhibitions and promoting italian and chinese contemporary art both in china and europe.
He helps national institutions, museums, art galleries, collectors and private companies in building cultural bridges with China. He gives lectures, curates and organizes contemporary art shows, cultural events, and video/film screenings between Italy and China/Far East countries in cooperation with public and private institutions. At present, he is particularly focused on int’l art/design/architecture projects between Italy/Europe and China both in coop with European Commission (Strasbourg) and the Italian Ministry of Culture in Rome.
布鲁诺·迪·马里诺
(1966年生于意大利萨莱诺)是一位研究动态图像的艺术史学家，尤其专注于视听实验、新媒体以及电影与其他艺术领域（视觉艺术、设计、建筑、摄影、音乐）之间的关系。自1990年起，他在意大利和国外的各所大学和艺术学院举办讲座、研讨会和会议。目前，他在罗马弗罗西诺内美术学院（Accademia di Belle Arti in Frosinone, Rome）教授大众传媒理论和方法以及美学。
Bruno Di Marino
(Salerno, 1966) is an art historian of moving images, particularly specialized in audiovisual experimentation, new media and relationships between cinema and other artistic fields (visual arts, design, architecture, photography, music). Since 1990 he gives lectures, workshops, conferences in various universities and art academies both in Italy and abroad. At present, he teaches Theory and method of mass media and also Esthetic at Accademia di Belle Arti in Frosinone (Rome).
From the series Maschere
选自面具系列
1992，Size invented by the artist，40 x 35 cm
Polaroid color print transfer on paper, egg-yolk, graphite
由彩色宝丽来转印至画纸，蛋黄，石墨
Ispezione e tracciamento sul rettangolo
矩形检查和跟踪
1975，100 x 70 cm
portfolio containing 8 litographs
包含八幅平版印刷画
From the series Sconosciuti
选自陌生人系列
2015，40 x 30 cm
Gelatin silver print
明胶卤化银
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即将展出