HdM 北京 | 马歇尔·雷斯（Martial Raysse）同名个展
展览名称：马歇尔·雷斯
开幕时间：2020 年 01 月 11 日 (周六) 16:00-18:00
展览时间：2020 年 01 月 11 日 - 03 月 07 日
展览地点：HdM 北京 | 北京市朝阳区酒仙桥路 4 号 798 艺术区七星东街
HdM 画廊北京空间荣幸地宣布我们将于 2020 年 1 月 11 日举办法国重要艺术家马歇尔·雷斯（Martial Raysse）的同名个展，届时将展出艺术家自上世纪 80 年代至 2019 年横跨 30 年的 20 余件纸本作品。展览将持续至 2020 年 3 月 7 日。
关于展览
马歇尔·雷斯，《拉斐尔 Villa Borghese 的临摹》，纸上木炭，40 x32 cm，1988
画布即是内心的剧场， 这些剧场里的人物摆脱了绘画史或是艺术史所定义的存在。无论是他的大型油画还是眼前这些小型素描，都使我们超越时间维度去观看它，他创造人物的面孔，表情，身姿，不断地深化和丰富它，她（他）们数十年来总是飘浮在他的绘画当中，如永不落幕的戏剧，戏剧人物轮番登场，演绎喧闹的世界，一个充满暴力与动荡不安以至于产生荒谬感的世界。而在素描这个更为微观的小剧场中，我们能看到不同于绘画大师的另一个呈现，他在素描中追求朴拙，同时也在追求卓越，在这样的图像中怎样判断古典或现代的风格呢，他既然抛弃掉了波普艺术的那套说辞，也就拒绝了一切形式主义的修辞；他既然在这个充满神话故事的地区安扎下来，早上听着教堂的钟声，夜晚可以坐在树林的边缘观赏晚霞，他可以按心中所愿随意处理任何事物，重新建立秩序。这些素描更像是一个中世纪隐士的秘密的生活碎片，他利用周围一切的细小事物，陶土瓦罐，藤叶，公鸡，小剑，泳衣——凡是手边的，目光所及的事物，它们都是重要的道具，发挥着自己的特殊属性，这个剧场里发生的一切是生动的，有机的，所有不协调的事物都会在这里配搭得和谐，就好像它们在一个神秘的规则里运转。
这些小型素描也和他的大尺幅油画内容相关联，和那些青铜，钢铁，石膏的大小雕塑相关，人物会再次登场，就像在即兴的solo过后，她们将去参演更重要的大型戏剧，去作为神话中的一个名角儿或是自得其乐的小角色。这些小人儿的形象常常作为雕塑在他的生活中包围，在他石头工作室的墙缝某处，在神龛上，在古老的壁炉边上，受到小心翼翼的保护，它们和时间完成彼此间的祭祀，经年来它们也变成这个地区神话的一部分，而他就是塑造这个神话的人。
马歇尔·雷斯，《雷奥迪纳,你和我》中的习作，纸上综合材料，40x30cm，2008
如果绘画就是为了唤起那些不在场的事物的在场，马歇尔 · 雷斯仅仅是这些小型素描就已经做到了，从一张脸，一个身体，一个器物，这些背后你会联想到一些庞大复杂的事物，去想象一个虚无或实际的世界，那些想象折射的就是个人对世界的看法。观看绘画是瞬时的，但之后的联想是延时的，观察马歇尔 · 雷斯如何给他的画中人皮肤赋以颜色，是动物肉体的质感，还是年久塑像的质感，又是如何给他们的衣物和周边以色彩，那种绚烂，透着反智。要知道，马歇尔·雷斯，一个纳粹时代的幸存者，和家人深夜翻越阿尔卑斯山逃命的男孩，对世界的绝望，永存心间。所以同样选择隐居的艺术史学家约翰·伯格（Jonh Berger）曾怎样说？他说，创造，不管多么美丽，毕竟始于苦难。
我们在这些绘画中的肖像和静物中总会察觉到一丝隐隐的戏谑，可能是你无法明确判断这些面孔的 出处，无法归纳这些身姿体态透露出的社会性语言，在这样的绘画中，你在时间和历史上的经验，会被压缩和折叠，你不是非得了解16世纪的欧洲艺术史，也不必在当代艺术史中索引图释，这些图像是艺术家对周遭事物的表态，是复杂的凝结，绘画于他而言，当然无可避免地，是对时代的转译和感知，但又不是贴得过近。
在马歇尔·雷斯的绘画历程中，你能看到的是捍卫的精神，当他时隔近半世纪，在纽约重新举办展览时，他意在捍卫绘画——使绘画远离愚蠢。而这些在遥远隐居地完成的素描，此次陈列在中国，在北京，面对中国观众，艺术家会相信绘画呈现是精神与品质，这些会超越国别，超越时间，超越历史经验，它们只是作品，是绘画，是线条色彩技术和意识的凝结，是某人在某个时刻完成它，而如今它们直面你内心的评判。
（文： 鞠白玉）
马歇尔·雷斯，《三重奏》，纸上拼贴和综合材料，20.5x14.5cm，2019
关于艺术家
马歇尔·雷斯 1936 年生于法国高尔夫 – 如昂 – 瓦罗里斯的陶艺世家，现工作生活于法国贝尔热拉克。从上世纪 60 年代开始，他的作品受到广泛关注，曾于 1966 年、1976 年、1982 年参加威尼斯双年展，1968 年、1977 年、1992 年分别参加第四届、第六届及第九届德国卡塞尔文献展，并于 2014 年获得日本高松宫艺术大赏绘画大奖。雷斯的作品自上世纪 60 年代开始在全球多个重要艺术机构展出，其中包括：纽约现代艺术博物（ MoMA）、巴黎乔治·蓬皮杜国家艺术文化中心（Le Centre national d'art et de culture Georges-Pompidou）、巴黎现代艺术博物馆（Musée d’Art moderne de la Ville de Paris ）、巴黎大皇宫（Galeries Nationales du Grand Palais）、布鲁塞尔美术宫（Palais des Beaux-Arts）、慕尼黑现代艺术博物馆（Modern Art Museum, Munich ）、阿姆斯特丹市立博物馆（Stedelijk Museum）等；也广泛被各地美术馆和公共机构收藏，包括：纽约现代艺术博物馆（ MoMA）、华盛顿赫什霍恩博物馆和雕塑塑公园（Hirshhorn Museum and Sculpture Garden, Washington D.C. ）、布达佩斯路德维希现代艺术博物馆（Ludwig Museum of Contemporary Art）、法国马赛当代艺术博物馆（Musée d'Art Contemporain Marseilles）、比利时根特国立当代艺术博物馆（S.M.A.K. Stedelijk Museum voor Actuele Kunst）、波尔图塞拉维斯当代艺术博物馆（Serralves Foundation Museum of Contemporary Art ）、清华大学艺术博物馆（Tsinghua University Art Museum）等。马歇尔·雷斯 1992 年被委托设计了法国建国 200 年的国家邮票。
Exhibition: Martial Raysse
HdM GALLERY Beijing is pleased to present a solo show of an important French artist Martial Raysse. The show will include more than 20 works dated from 1980s to 2019. It will open on January 1st and last until March 7th, 2020.
About the Exhibiton
“The world is a farce full of grief and joy" according to Martial Raysse. Living discretely in the countryside of Bergerac, in the southwest of France, in the depth of the forest where the morning bells chime, Martial Raysse still looks out into the world.
In 2014, the Centre Pompidou held a retrospective exhibition celebrating 45-years anniversary of his practice for the then 78 years old Martial Raysse, for which the French newspaper Le Monde commented, "This is a painter who knows best about painting since Picasso." In fact, Matial Raysse was first enrolled in the department of literature at Nice University in 1954, and in the following year, he began to write large volumes of poetry. In 1960, as a central figure in the Nouveau-Réalisme movement, he wrote down the manifesto of the Nouveau-Réalisme on a 100 cm x 66 cm piece of paper with Yves Klein, Arman and others, thereby launched a revolutionary chapter in French contemporary art. Two years later, his installation, Raysse Beach became a classic in the French Pop Art scene. Thereon, his works expanded in the mediums of installation, collage, sculpture, theater, public art, experimental film, etc. that earned him a position in the New York art scene. It was at the peak of his practice, he resigned from Pop Art and was resolute to return to France, but not to live in Paris. He sought for a secluded plot of land in the countryside where he could return to the practice of painting. "I hope people would forget about everything I have done previously, and as of now, I am a new person, an impoverished new artist." Once he bid farewell to the Martial of the past and told the others his reasons for returning to France, Marcel Duchamp opened a drawer in his studio and showed him his secret practice – painting.
Martial Raysse, Paulo esquisse pour Mais dites une seule parole, 32x41cm, 1994
Martial Raysse chose to lead a life in seclusion at the peak of his fame and began to work in a stone-structure studio. From the wind pierced through the forest, sweeping over the lawn and the dandelions in the courtyard, to the snow falling in the winter, there in the studio, he carried on a whisper with himself in this discrete world of his. His overview of the world has condensed into the center point, where he continued to translate the language from his heart and mind. What he contemplated and worked on there was similar to a monk’s as ascetic practices in the temples.
The canvas became the stage on which his inner world unfolded. The figures on stage were unrelated to the definitions of the history of painting, or even the history of art. Be it his large-dimension oil paintings, or these small drawings before our eyes, we could look at them without the framework of time. He portrayed the faces, expressions, demeanors of these figures. As he continued to deepen and enrich them, these figures floated among his paintings for decades. Like a never-ending play, the players take turns to come on and off stage, acting out the hustle and bustle of the world, a violent and restless world that seems at times absurd. In portraying this subtle theatre, we could perceive a different kind of presence unlike a master of painting. His drawings aspire for simplicity as well as excellence. How would one distinguish such works from the classical or modern? Since he's left behind the set of rhetoric for Pop Art, he's also rejected everything about formalism. Having settled down in an area filled with legends, where he listens to the church bells in the morning and appreciates the setting sun by sitting at the edge of the forest at dusk, he was able to execute his objects as he pleased, thereby reestablishes the order of things. These drawings are like the fragments of a mid-century recluse' secret life. He's adopted all of the small objects around him, ceramic pottery, vines and leaves, the rooster, a small sword, bathing suit – anything the hand would reach, and eyes would see – became important props, exhibiting their uniqueness. Everything that took place in this theatre is vital, organic, and all the awkward objects would be paired harmoniously as if they operate in an enigmatic pattern.
Martial Raysse, 18e etage, pastel on paper, 15x9.5cm, 1998
These small-dimension drawings are related to his large-scale oil paintings, and to those copper, steel and plaster sculptures large and small, the figures once again returned to the stage. As if they were headed to act in a large-scale play once they’ve done solo improvisations, to become a star or a self-fulfilling small role. These small figures often surround himself in the form of sculptures, scattered around the wall crevasse in his stone studio, at the shrine, next to the old furnace, and are carefully protected. They venerate each other through time, and over the years, they have become part of the legend of this region, and Martial Raysse was the one who created the legend.
If painting were to call on the presence of those absent, then Martial Raysse would have already achieved it with these small drawings. From looking at a face, a body, and an object, one would associate immense and complex things with them, imagine a nihilistic or actual world which ultimately reflects the individual's view of the world. The viewing of a painting is momentary, while one's imagination hitherto can be extensive. Looking at Martial Raysse's applying colors to the skin of the protagonist on canvas is that the texture of the animal flesh or that of the long-standing sculpture, or the clothing and vicinity around them, that kind of luscious splendor defies the intellect. Furthermore, Martial Raysse, a survivor of Fascism, was a boy who crossed over the Alps with his family overnight, his despair towards the world has never left his heart. So, as the art historian John Berger, who also chose to live in seclusion, once said, “Creativity, regardless of its beauty, nevertheless originates from suffering.”
From these portraits and still-life, we would sense a subtle playfulness. Without knowing where these faces come from, or unable to categorize the social lingo these postures convey, standing in front of these paintings, your experiences of time and history have been compressed and folded. You neither have to know about the European history of art from the 16th Century nor the visual references to the history of contemporary art, these images are the artist's attitude towards the things around them, and they embody his complex sentiments. For Raysse, painting inevitably translates one's sensibilities of this time, while without being over engaged.
From Martial Raysse's journey in painting, one could witness his perseverance in the medium. When he held an exhibition in New York half a century later since his first, his intention was to safeguard painting – so it would never become a practice for the fools. For these drawings completed in Europe, their display in China, at an art gallery in Beijing for the Chinese viewers, the artist would believe that these works present a kind of psyche and quality, that which transcend nations, time, and historical experiences. They are works of art, drawings specifically, that have encapsulated the techniques and consciousness of the one who applied these lines and colors, completed at a certain time, and now, they confront the judgments in your heart and mind.
(Written by: Ju Baiyu)
Martial Raysse, étude pour Le lever du jour, mixed media on paper, 29.5x42cm, 2016
About the Artist
Martial Raysse was born in 1936 in Vallauris, France, to a family of ceramicists, he now works and lives in Bergerac. His works have been well known since the 1960s, and he participated in the Venice Biennales of 1966, 1976, and 1982, and also in Kassel Documenta in 1968, 1977, 1992. In 2014, he was awarded the prestigious Praemium Imperiale for Painting by the Japan Art Association. Martial Raysse was exhibited widely in numerous institutions around the word, including MoMA, Le Centre national d'art et de culture Georges-Pompidou, Musée d’Art moderne de la Ville de Paris, Galeries Nationales du Grand Palais， Palais des Beaux-Arts,Modern Art Museum, Munich, Stedelijk Museum, etc. His work is included in numerous important public collections, including MoMA, Hirshhorn Museum and Sculpture Garden, Washington D.C., Ludwig Museum of Contemporary Art, Musée d'Art Contemporain Marseilles, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Serralves Foundation Museum of Contemporary Art, Tsinghua University Art Museum, etc. Moreover, Martial Raysse was commissioned to design thenational stamp of France of 200 years in 1992.
北京空间
北京市朝阳区酒仙桥路 4 号 798 艺术区七星东街，100015，中国
info@hdmgallery.com
+ 86 10-59789320
周二至周六 11:00 – 18:00
伦敦空间
42 Conduit Street, Mayfair, London W1S 2YH
m@hdmgallery.com
周一至周五 10:00 –18:00
www.hdmgallery.com
Instagram：hdm_gallery