达戈维托·罗德里格斯 Dagoberto Rodriguez 丨 乐高水彩 Lego Watercolor
Los Carpinteros (l-r: Dagoberto Rodriguez, Marco Castillo, Alexandre Arrechea) standing inside Church, 2000.
Los Carpinteros组合(左至右: 达戈维托·罗德里格斯, 马可·卡斯蒂略, 亚历山大·阿雷切亚)站在教堂内，2000年。
Dagoberto Rodriguez was born in Cuba in 1969 and graduated from the Instituto Superior de Arte (ISA) in Cuba. He was a member of Los Carpinteros, a group that has maintained a long artistic life and is internationally known for its work in painting, sculpture, visual art, and many other fields. However, Dagoberto decided to start his own work in 2017 in order to find a more appropriate artistic expression.
达戈维托·罗德里格斯于1969年出生于古巴，毕业于古巴的哈瓦那高等艺术学院（ISA）。他曾是Los Carpinteros组合中的一员，这个组合保持了长久的艺术生命力，有很高的国际知名度，作品涵盖绘画、雕塑、视觉影像等多个艺术领域。不过达戈维托为了追求更契合自身的艺术表达，还是决定从2017年开始进行独立创作。
Dagoberto's work needs to be interpreted in conjunction with his personal background, or rather this combination provides another interesting clue or dimension to look at his artworks. His Watercolor Lego series is impressive not only because he creatively combines the traditional painting craft of watercolor with concepts such as technologism, structuralism, and future city, but also because he reflects on some political discourse and characteristics of the time in the works.
达戈维托作品需要结合他个人的背景来解读，或者说这种结合提供了观察他作品的另一个有趣的线索或者维度。他的水彩乐高系列之所以令人印象深刻，不仅仅是因为在这个系列中他创造性地将水彩这种传统的绘画工艺与技术主义、结构主义、未来城市等概念结合，更深层次的是作品背后对一些政治话语和时代特征的反思。
Dagoberto Rodríguez, Pasillo Hexagonal, 2019, Watercolor and graphite on paper, 130 × 130 cm. Courtesy of the artist and Sabrina Amrani gallery.
达戈维托•罗德里格斯, Pasillo Hexagonal, 2019, 水彩和石墨纸，130 130厘米。由艺术家和塞布丽娜·阿姆拉尼画廊提供。
The hexagonal tunnel is based on grey and red Lego blocks, which form an infinite tunnel. Dagoberto modeled it digitally and then finished it in watercolor. He constructs a warped space in which you seem to be falling into an abyss or escaping from the real world.
六边形的隧道以灰色和红色的乐高块为基本元素，无数的乐高构成了一个无限延伸的隧道。达戈维托先用数字技术建模，再用水彩的形式完成作品。他构建一个扭曲的空间，你似乎正在掉进深渊，又好像在加速逃离现实世界。
Pasillo 7, Dagoberto Rodriguez, Watercolor on paper, 200 x 200 cm, 2019.
通道-7, 达戈维托•罗德里格斯，水彩画，200 x 200厘米，2019。
Satélite de Hormigón, Dagoberto Rodriguez, Watercolor on paper 130 x 130 cm, 2019.
混凝土卫星, 达戈维托•罗德里格斯，水彩画，130 x 130厘米，2019。
Puente invertido rojo, Tríptico，Dagoberto Rodriguez, Watercolor on paper 175 x 390 cm, 2019.
红色环桥, 三联画, 达戈维托•罗德里格斯，水彩画，175 x 390厘米，2019。
Librero Metropolis Vertical，Dagoberto Rodriguez, Watercolor on paper 200 x 130 cm, 2018.
大都会垂直图书馆, 达戈维托•罗德里格斯，纸面水彩画200 x 130厘米，2018。
Space stations, satellites, bridges, and buildings with a sense of technology are recurring in his works, but Cuba is not a country with advanced engineering and aerospace science. Dagoberto's passion for scientific and technological themes may have come partly from his father, who worked on astronomy research.
空间站、卫星、桥梁和拥有充满科技感的建筑在他的作品中反复出现，但古巴并不是一个工程科学与航天科学高度发达的国家，达戈维托对科幻题材的热衷可能部分源于他从事天文研究的父亲。
No Estrella，Dagoberto Rodriguez, Watercolor on paper 200 x 200 cm, 2018.
No Estrella, 达戈维托•罗德里格斯，水彩画, 200 x 200厘米，2018。
His early life and artistic education in Cuba also influenced him. Dagoberto received a socialist higher art education. During his school life, he was told that art was a weapon in the revolutionary struggle and that his ultimate destination was to become an art teacher. But when it came time to decide whether to pursue a career in education or become an independent artist, Dagoberto chose the latter. His work is, in part, a reflection on the material-deprived utopia of Cuba's revolutionary years.
在古巴的早期生活和艺术教育经历对他同样影响颇大。达戈维托接受了社会主义的高等艺术教育，在学校的学习生活中，他被告诉艺术是革命斗争的武器，他学习艺术的最终归宿是成为一名艺术教师。但真正当需要决定未来是从事教育工作还是独立概念创作的时候，达戈维托选择了后者。他的作品，在某种程度上，是对古巴革命年代那种物质匮乏的乌托邦理想国的反思。
Imagination often comes not from the life of abundance, but from the life of scarcity. While Lego is a basic element in Dagoberto's watercolor work, Lego bricks weren't common when he was growing up. For Dagoberto, Lego represents a vision of the future.
想象力很多时候并不产生于丰裕，而是迸发与匮乏。乐高虽然是达戈维托水彩作品中的基本元素，但在他小时候，乐高积木并不常见。对达戈维托来说，乐高代表的是构建未来的一种想象。
The lack of Lego and other toys was also a reflection of Cuban social life in the 1970s -- the extreme lack of material life and infrastructure. In Dagoberto's eyes, Cuba has built almost nothing in the past half-century. Throughout his childhood and youth, he lived in material deprivation.
玩具的匮乏，这也是70年代古巴社会生活的写照——物质生活和基础设施建设的极度缺失。在达戈维托的眼中，过去的半个世纪里古巴几乎什么都没有建成。童年和青年时期，他一直生活在物质匮乏的环境中。
Due to various historical reasons, the Red regime was economically blocked and could not complete the large-scale construction of bridges and buildings, which is what Dagoberto longed for in his deep heart. The frequent appearance of Lego capsules, planets, turbines, spatial structures, and urban infrastructure in watercolor works is a remedy for this deficiency.
现实也确实如此，由于种种历史原因，当时的红色政权经济受到封锁，没有能力完成桥梁、建筑的大规模建造，而这也是达戈维托内心向往的。水彩中频繁出现的乐高航空舱、星球、涡轮、空间结构、城市基础设施，也可以理解为是这种缺憾的弥补。
In the meantime, Lego bricks can be dismantled and reassembled. They are fragile, facing the risk of collapse. In the virtual Lego world that Dagoberto is building, nothing is solid. Although Dagoberto believes that artists have a responsibility to use their work for realistic criticism, his work is still euphemistic, symbolic, and metaphorical. In his view, such expressions have deeper conceptual value, allowing others to interpret them from more perspectives.
同时，乐高积木可以随时被拆解和重新聚合，同时也是脆弱的，随时面临着崩塌的危险。在达戈维托构建的乐高世界中，没有任何建设是坚实的。虽然达戈维托认为艺术家有利用作品进行现实批评的责任，但他的作品仍然是委婉的、象征的、隐喻的。在他看来，这样的表达具有更深刻的概念价值，允许其他人从更多角度去解读。
Irma, Dagoberto Rodriguez, watercolor on paper 130 x 130 cm.
厄玛, 达戈维托·罗德里格，水彩画，130 x 130厘米。
Colisión, Dagoberto Rodriguez, watercolor on paper 130 x 130 cm.
碰撞, 达戈维托·罗德里格，水彩画，130 x 130厘米。
Iceberg Gris, Dagoberto Rodriguez, watercolor on paper 200 x 260 cm, 2020.
灰色冰山，达戈维托·罗德里格，水彩画，200 x 260厘米，2020年。
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