艺术家 PROFILE | 西普里安恩·盖拉德 Cyprien Gaillard
西普里安恩·盖拉德 Cyprien Gaillard
b. 1980 法国巴黎
现生活和工作在纽约与柏林
▲ 《无题》Untitled, 2012, 油彩颜料、丝网印刷、画布 Oil and screenprint on canvas；100 x 120 cm; 含边框：102.9 x 122.6 x 5.4 cm framed.
西普里安恩·盖拉德（Cyprien Gaillard）的创作实践，涉及到从录像到摄影，拼贴到雕塑等诸多表现形式。他的作品常常以纪念物、景观、废墟和建筑物折射历史，展现了时间与社会文化变革给物理空间带来变化的过程中，艺术家对物件和其形成环境之间关系的关注。它们在地理和心理学，建筑和自然，演变和消损之间建立起对话。
▲ 《晶体世界》展览现场，纽约MoMA PS1，2013.01.20 – 03.18 / Installation view of The Crystal World, MoMA PS1, New York, 2013.01.20 – 03.18.
西普里安恩·盖拉德生于1980年巴黎，恰成长于模拟信号向全数字信号时代过渡的年代。或许是为了反映20世纪这一重要的过渡时期，盖拉德对模拟和数码媒介有着同样精准的把握。2013年，纽约现代艺术博物馆（MoMA）举办了盖拉德在美国的首个个展，其中他的重量级电影作品《人造物》（Artefacts，2011）首次展出。作品最初由盖拉德用自己的手机拍摄，后转为35毫米影片。影片呈现了艺术家对神秘的巴比伦古城之凝思，将伊拉克战后的画面与古文明遗迹的图像进行了蒙太奇拼贴。其中，最著名的或许就是伊什塔尔城门-柏林的佩加蒙博物馆于上世纪三十年代在一间朴素的展厅里重修了它的重建品。整件作品呈现了一种无时间性的气质，而对电影的使用，也为作品增添了一种稍纵即逝的质感-毕竟这一媒介本身就接近于被淘汰的边缘，正如影片主题所展现的那些因受战争和自然灾害摧残而衰败、颓废和无力的城市那样。
▲ 《人造物》录像截屏 Video still from Artefacts. 2011. 高清影片转35mm胶片 HD film transferred to 35 mm；循环，有声continuous with sound. © Cyprien Gaillard.
2013年在纽约MoMA PS1馆举办的展览"晶体世界"（The Crystal World），包含了超过80件作品，其中含括了盖拉德在纽约创作的五件重要的电影作品和两件特定场域作品。通过将现成品、摄影、电影、建筑和社会元素结合，展览凸显了盖拉德对于古废墟和被遗弃的当代空间两者间视觉或关联性连接的兴趣，试图在沉落的当下追回消逝的过去。
▲ 《晶体世界》展览现场，纽约MoMA PS1，2013.01.20 – 03.18 / Installation view of The Crystal World, MoMA PS1, New York, 2013.01.20 – 03.18.
为了推进自己对于熵-无论是在文化还是在物理层面上-的兴趣，盖拉德在2013年汉默尔博物馆驻留和随后举办的个展中，探索了美国加州退化、失调和衰颓的现象。在博物馆驻留期间，他走遍了加州，搜索隐藏的废墟、被摧毁的风景和其他消逝不久的残迹。展览最终呈现了一件雕塑装置作品和一系列摄影照片。
▲ 《闸门（德黑兰FAZELAB, BS）》（局部）GATE (FAZELAB TEHRAN, BS) (detail), 2017
▲ 《闸门（德黑兰FAZELAB, BS）》GATE (FAZELAB TEHRAN, BS), 2017, 石墨、纸 Graphite on paper；211.3 x 107.3 cm; 含边框：213 x 109 x 5 cm framed.
在洛杉矶工作期间，盖拉德同时记录了城市街道上的很多缝隙和裂口。为了将这些微小的差误线编入索引，他决定使用宝丽来胶片这一能够在现场即时记录、处理和显影的媒介。宝丽来照片本身即是一种脆弱的记录，而道路上的裂缝亦是如此，它们终将被重铺和清除，在时间的行进中逐渐消失。
▲ 《汉默尔项目：西普里安恩·盖拉德》展览现场，洛杉矶汉默尔美术馆，2013.04.20 – 08.04 / Installation view of Hammer Projects: Cyprien Gaillard, Hammer Museum, Los Angeles, 2013.04.20 – 08.04.
在此之后，盖拉德又进一步展开了对城市井盖的探索，在街道上找寻不同时间和文化相互碰撞的证据。他注意到工业制造的井盖不但使用了前哥伦布艺术的式样和主题，同时也承载着一种赋予它们失序感的文字。刻有"洛杉矶市"的铭文，常常有同样显眼的"印度制造"相伴。盖拉德以拓印的形式对这些井盖加以记录，生成了对特定时间和空间的个人化索引。这些拓印令人联想到奥尔梅克人的大型头像和神话造物图像。该系列被命名为"门"（Gates），强调了井盖作为障碍物或通道的功能，既包含了其作为物体的功用性，也暗示了指向地下世界的神秘感。
▲ 《汉默尔项目：西普里安恩·盖拉德》展览现场，洛杉矶汉默尔美术馆，2013.04.20 – 08.04 / Installation view of Hammer Projects: Cyprien Gaillard, Hammer Museum, Los Angeles, 2013.04.20 – 08.04.
至于汉默尔博物馆展览中的雕塑部分，盖拉德探访了加州沙漠中数个存放工业挖掘机的场地。和他以往的实践一样，盖拉德走访了不同的拆除地点，检视了过去十年的推土机和其他重型器械，以探索这些用于清理碎石和消解历史的机器。2013年，盖拉德在格莱斯顿画廊创作了一组由挖掘机铲头组成的作品。透过人类学的视角，变换了身份的现成品之概念被重新审视，挖掘机铲头和相伴橱窗展示的国家地理杂志，同时暗示了增长和毁灭，显示出现代意义上的发展-特别是对于景观而言，所指涉的矛盾。
▲ 《斐济斑翅鸫鸟》Fiji Bar-Winged Thrasher, 2013, 挖掘机头、方解石 Excavator head and banded calcite；152.4 x 198.1 x 172.7 cm.
▲ 《斐济斑翅鸫鸟》（局部）Fiji Bar-Winged Thrasher (detail), 2013
▲ 《一个城市学会再次微笑》（局部）A City Learns to Smile Again (detail), 2013
▲ 《今天挖掘者，明天狄更斯》展览现场，纽约格莱斯顿画廊，2013.11.09 – 2014.02.01。Installation view of Today Diggers, Tomorrow Dickens, Gladstone Gallery, New York, 2013.11.09 – 2014.02.01.
对于汉默尔博物馆的展览，盖拉德把关注点落在了挖掘机附件上-这些黄色的铸铁工具与前哥伦布时期的人工制品具有惊人的相似性。通过将这些工业机械带出拆建的语境，并在博物馆陈列，盖拉德展现了这些功能性器械所承载的时间和语境，以及其中的历史性和象征性。
▲ 《夜生活》（2015）里昂双年展展览现场，2015.09.10–2016.01.03。Installation view of Nightlife, 2015, Biennale de Lyon, 2015.09.10-2016.01.03. 图片／Photo: Blaise Adilon, Biennale de Lyon 2015.
为了推进对被遗忘或被忽视的历史的审视，盖拉德于近期推出了他2015年的电影作品《夜生活》（Nightlife）-分别在法国里昂第13届里昂双年展（2015）、德国尤利娅·斯托舍克收藏（2015）和作为2010年度杜尚奖获奖者作品在北京红砖美术馆展出。这部《夜生活》完全在夜间拍摄，一连串富有象征意涵的图像在阿尔顿·埃利斯的经典歌曲《黑人的世界》（Black Man's World）歌词的不断重复中串联起来。影片由四个夜间段落构成，它们相互迂回缠绕，制造出催眠般的效果，在主题、视觉和声音线索的关联中，相互交织又彼此模糊。
▲ 《夜生活》（2015）里昂双年展展览现场，2015.09.10–2016.01.03。Installation view of Nightlife, 2015, Biennale de Lyon, 2015.09.10-2016.01.03. 图片／Photo: Blaise Adilon, Biennale de Lyon 2015.
影片开篇对罗丹的《沉思者》（The Thinker）进行了一次视觉重访--这件雕塑曾于上世纪七十年代在美国克利夫兰的一次恐怖袭击中被严重损坏。影片的第一段落将罗丹的这件标志性雕塑作品，作为政治、哲学和艺术张力的交汇点引入。在接下来的第二段落中，盖拉德将镜头对准了植物体--入侵洛杉矶的非本土植被在风中摇曳，既野蛮同时也体现出生命顽强不屈的活力。第三段落中，耀眼夺目的烟花在1936年柏林奥林匹克体育场上空绽放，庆祝着柏林每年一度的Pyronale烟火节。而在随后的最后一段中，一架直升飞机的探照灯"窥探"着一棵德国栎树光秃秃的树枝--这正是为致敬1936年美国奥运会冠军杰西·欧文斯（Jesse Owens）而在克利夫兰栽种下的那棵纪念树。透过这些看似平淡无奇的影像画面，盖拉德构建出了一种糅合着历史事件与充满象征意味的地点的混合物。在对历史本身之延展性的关注中，盖拉德把这些夜间图像构建出了一段有关于人类奋斗的复杂叙事。
▲ 《KOE》KOE, 2015, 高清录像、无声 Color HD video, no sound；04'17"
▲ 《西普里安恩·盖拉德》展览现场，德国柏林朱丽亚·施托舍克收藏，2015.09.26 – 2016.02.14。Installation view of Cyprien Gaillard, 2015, Julia Stoschek Collection, Berlin, 2015.09.26 – 2016.02.14.
盖拉德的实践核心，关注了地理、建筑和摧毁所强加在我们的历史感之上的社会-政治暗示。在2017年他与格莱斯顿画廊合作的新展中，盖拉德带来了九十多件新摄影作品，以及大型的纸上石墨作品，旨在深入发掘艺术家就世界纷繁复杂的政治和社会议题所作出的独特思考。盖拉德对于"混乱"的长期关注和思索--无论是把它作为一种美学手段，或是作为一种介入普遍的骚乱场面的入口--为观者提供了一个承载着厚重的社会和政治性参考与哲学凝思的场域。
▲ 《不祥的变体（D）》（局部）Jinxed Variation (D) (detail), 2017
▲ 《不祥的变体》展览现场，格莱斯顿画廊，2017.04.18–06.17。Jinxed Variations, installation view at Gladstone Gallery, April 18–June 17, 2017.
展览以"档案"作为核心框架： 艺术家陈列出一组严谨排列的黑白新闻摄影照片，由他从《巴尔的摩太阳报》、《华盛顿邮报》、《克里夫兰据实报》和《芝加哥论坛报》等美国地方性报刊的档案库中筛选而出。 伴随着这些刊物开始将历史档案中的明胶银盐照片原件转化为数字化的图片库并对公众开放，盖拉德在过去几年里持续搜索和收集着这些图片。调查性报道和新闻摄影记者对混乱局面和灾难--无论是自然的，还是人为的--的记录，初看起来像是未经任何修饰的事件原型本身；但如果对这些图片进行进一步的探究，就会发现强加于它们之上的层层干扰：如编辑的剪切标记、马赛克、褶皱和其他记号--它们皆仿效着图像所展现的主题本身的颠覆性。
▲ 《晶体世界》展览现场，纽约MoMA PS1，2013.01.20 – 03.18 / Installation view of The Crystal World, MoMA PS1, New York, 2013.01.20 – 03.18.
这些档案被置于相同的边框中，以网状的形式排列。而艺术家对克里夫兰印第安人棒球队的"红脸人"队徽--"瓦荷酋长"（Chief Wahoo）形象的再挪用，则作为核心连结着其它图像。盖拉德大胆而敏锐地将这一卡通图案与这些灾难性的场面相连，企图通过将这一微笑形象与处于混乱之中的文明表征相并置，重新定义和改造这个吉祥物的身份，彻底揭示出与意外、社会清洗和道德有关的残酷现实。与这组布局严谨的结构性摄影作品同时展出的，是出自"门"（Gates）系列的数件作品，其材料使用了最为基础的艺术媒介：石墨。这种晶体矿石不论是在艺术史中，还是科技和工业领域，皆被广泛使用。
▲ 《今天挖掘者，明天狄更斯》展览现场，纽约格莱斯顿画廊，2013.11.09 – 2014.02.01。Installation view of Today Diggers, Tomorrow Dickens, Gladstone Gallery, New York, 2013.11.09 – 2014.02.01.
透过建筑、青年文化、工业用具、自然和纪念物，盖拉德寻找着不同文化和地域之间的平行面，他是一个现代的探险者，挖掘和拣拾着其他文明的碎片。从本源对这些物件和片段进行提取和再语境化的行动本身，将我们引向了关乎我们的历史感的美学断裂层。无论是对新铺的水泥道路还是对忽视的夜景的捕捉，盖拉德记录着我们当下的历史，他的作品激发我们以新的视角重新观察世界。
▲ 《汉默尔项目：西普里安恩·盖拉德》展览现场，洛杉矶汉默尔美术馆，2013.04.20 – 08.04 / Installation view of Hammer Projects: Cyprien Gaillard, Hammer Museum, Los Angeles, 2013.04.20 – 08.04.
西普里安恩·盖拉德出生于法国巴黎，目前在柏林、纽约工作和生活。他曾在诸多国际知名艺术机构举办个展，其中包括：杜塞尔多夫K20艺术馆的尤莉娅·施托舍克收藏，威斯特法伦州，杜塞尔多夫；翰墨尔博物馆，洛杉矶；纽约现代艺术博物馆（MoMA）PS1馆，纽约；尼古拉·特鲁萨尔迪基金会，米兰；辛克尔艺术中心，柏林；蓬皮杜艺术中心，巴黎；KW当代艺术中心，柏林；法兰克福现代艺术博物馆，美因河畔法兰克福；巴塞尔美术馆，巴塞尔。
▲ 艺术家西普里安恩·盖拉德 Cyprien Gaillard. 摄影 / Photo: Albrecht Fuchs
Cyprien Gaillard's practice manifests in a variety of forms, from videos and photographs, to collages and sculptures. Often reflecting on history through monuments, landscapes, ruins, and buildings, Gaillard is interested in relationships between objects and their environments formed as time and socio-cultural transformations change physical spaces. His works engage a dialogue between geography and psychology, architecture and nature, and evolution and erosion.
▲ 《人造物》录像截屏 Video still from Artefacts. 2011. 高清影片转35mm胶片 HD film transferred to 35 mm；循环，有声continuous with sound. © Cyprien Gaillard.
Born in Paris in 1980, Gaillard was socialized in the liminal years between a time of analog and a full digital age. Perhaps reflecting this transitional time of the 20th century, Gaillard is able to move from both analog and digital mediums seamlessly. Shown for the first time in U.S. during his first solo exhibition at MoMA PS1 in 2013, his monumental film Artefacts (2011) was shot on his cellular phone and later transferred to 35mm film. Artefacts imparts a reflection on the myth of Babylon and takes form through a montage of scenes from post-conflict Iraq interwoven with images of the ancient civilization's antiquities, none more famous perhaps than the Ishtar Gate, reconstructed in an austere gallery of the Pergamon Museum in Berlin in the 1930s. The work has an aura of timelessness, and the use of film adds a layer of transience, as it is a medium on the verge of obsolescence, much like the crumbling, deteriorating, powerless cities ravaged by war and nature that are the subject of the film.
▲ 《晶体世界》展览现场，纽约MoMA PS1，2013.01.20 – 03.18 / Installation view of The Crystal World, MoMA PS1, New York, 2013.01.20 – 03.18.
The 2013 MoMA PS1 exhibition titled "The Crystal World" comprised of over 80 works, and included five major cinematic works and two site-specific works made in New York. Combining elements of the found, the photographic, the cinematic, the architectural, and the social, this exhibition highlighted Gaillard's interest in the visual or associative connections between ancient ruins and neglected contemporary spaces, attempting to recuperate the past in the name of a devalued present.
▲ 《晶体世界》展览现场，纽约MoMA PS1，2013.01.20 – 03.18 / Installation view of The Crystal World, MoMA PS1, New York, 2013.01.20 – 03.18.
Continuing his interest in entropy, both cultural and physical, Gaillard's residency and subsequent solo exhibition at the Hammer Museum in 2013 explored the phenomena of degradation, disorder, and collapse within the state of California. During his residency at the museum, Gaillard traveled around California discovering hidden ruins, destroyed landscapes and other remnants of the recent past. This exhibition featured a sculptural installation and a series of photographs.
▲ 《闸门（俄亥俄州哥伦布市1988、印度联合爱迪生电力公司）》GATE (Columbus OHIO1988, Con Edison INDIA), 2017, 石墨、纸 Graphite on paper；230 x 150.7 cm; 含边框：234.7 x 154.9 x 5 cm framed.
While working in Los Angeles, Gaillard took note of the many cracks and fissures on the streets of the city. Interested in creating an index of these micro fault lines, he turned to Polaroid film, which provided immediate documentation, processed and developed on-site. Polaroid prints are fragile records, like the cracks in the road, which get paved over and erased, fading over time.
▲ 《闸门（俄亥俄州哥伦布市1988、印度联合爱迪生电力公司）》（局部）GATE (Columbus OHIO1988, Con Edison INDIA) (detail), 2017
Gaillard further identified evidence of colliding times and cultures on the streets by examining the manhole covers of the city. He noticed that the industrial lids not only shared motifs and patterns with pre-Columbian art, but also bore texts that gave them another layer of disorientation. The legend "City of Los Angeles" is often followed by "Made in India" in equally prominent type. Gaillard recorded the manhole covers in a series of rubbings, creating his own index of a specific time and place. The rubbings recall Olmec images of heads and mythical creatures. Titled Gates, the series emphasizes the manhole covers' function as barriers or gateways, both functional as objects, but also imbued with the myth of the underworld.
▲ 《荒岛秧鸡》（局部）Tristan Island Rail (detail), 2013
▲ 《荒岛秧鸡》Tristan Island Rail, 2013, 挖掘机头、方解石 Excavator head and banded calcite；241.3 x 116.8 x 218.4 cm.
For the sculptural element of this Hammer Museum exhibition, Gaillard visited a number of sites in the California desert where industrial digging machines known as excavators were stored. Common in his practice, Gaillard has been visiting demolition sites and focusing on bulldozers and other heavy equipment over the past decade to explore the machines responsible for clearing rubble and erasing history. In 2013, Gaillard created a body of work comprised of excavator heads for Gladstone Gallery. Navigating the concept of the altered readymade through an anthropological lens, the excavator heads and the accompanying vitrines housing national geographic magazines suggested both growth and destruction, highlighting the contradictions of modern notions of progress, particularly in landscapes.
▲ 《今天挖掘者，明天狄更斯》展览现场，纽约格莱斯顿画廊，2013.11.09 – 2014.02.01。Installation view of Today Diggers, Tomorrow Dickens, Gladstone Gallery, New York, 2013.11.09 – 2014.02.01.
For the Hammer Museum, Gaillard zeroed in on the excavator attachments-yellow cast-iron tools that bear a striking resemblance to pre-Columbian artifacts. By removing these industrial tools from the demolition context and presenting them within a museum setting, Gaillard portrays the way that time and context imbues functional tools with an aura of history and symbolism.
▲ 《夜生活》（2015）里昂双年展展览现场，2015.09.10–2016.01.03。Installation view of Nightlife, 2015, Biennale de Lyon, 2015.09.10-2016.01.03. 图片／Photo: Blaise Adilon, Biennale de Lyon 2015.
Continuing his exploration of the forgotten or overlooked fragments of history, Gaillard has recently debuted his film Nightlife (2015) at the 13th Lyon Bienale in France (2015), the Julia Stoschek Collection in Berlin, Germany (2015), and at the Red Brick Art Museum in Beijing (2017) in honor of his title as the 2010 Duchamp Prize winner. Gaillard's Nightlife, shot entirely at night, presents a rich patchwork of symbolic imagery bound together by the repetition of lyrics from Alton Ellis' classic song, Black Man's World. Gaillard's film takes place in four nocturnal sequences, blurred and woven together hypnotically through thematic, visual and audible connecting agents.
▲ 《夜生活》（2015）里昂双年展展览现场，2015.09.10–2016.01.03。Installation view of Nightlife, 2015, Biennale de Lyon, 2015.09.10-2016.01.03. 图片／Photo: Blaise Adilon, Biennale de Lyon 2015.
Beginning with a visual exploration of Rodin's The Thinker, partially destroyed in Cleveland from a protest bombing in the 1970s, the first sequence of Nightlife introduces this iconic sculpture as a point of political, philosophical, and artistic tension. The following segment presents non-native plant-life throughout Los Angeles, seen undulating in the wind, appearing violent and full of life. In the third segment, bright and burning fireworks explode above the 1936 Olympic Stadium in Berlin for the annual pyrotechnical competition, Pyronale, followed by the fourth and last sequence of a helicopter's searchlight peeking through the bare branches of a German oak tree; the same tree which was planted in Cleveland to honor the 1936 triumph of American Olympian Jesse Owens. Through seemingly innocuous imagery, Gaillard creates a synthesis of historical events and places rich in symbolic meaning. Concerned with the malleable nature of history, this nocturnal collection of images is orchestrated by Gaillard to create a complex narrative of human struggle.
▲ 《不祥的变体》展览现场，格莱斯顿画廊，2017.04.18–06.17。Jinxed Variations, installation view at Gladstone Gallery, April 18–June 17, 2017.
At its core, Gaillard's practice is concerned with the socio-political implications that geography, architecture, and destruction impose on our perception of history. For his most recent exhibition with Gladstone Gallery in 2017, Gaillard brought together more than 90 new photographs, as well as large-scale graphite works on paper, all digging deep into the artist's interest in layered political and social situations on a global scale. His preoccupation with and appreciation of disorder, be it as an aesthetic device or a portal into pedestrian bedlam, presented a platform thick with sociopolitical references and philosophical inquiries.
▲ 《不祥的变体（D）》（局部）Jinxed Variation (D) (detail), 2017
Considering the archive as a central framework; Gaillard displayed a rigorously organized selection of black and white newspaper photographs that he had mined from regional American press archives of the Baltimore Sun, the Washington Post, Cleveland's Plain Dealer and the Chicago Tribune. The original silver gelatin prints from these historic archives have become available to the public as these journals have begun to digitize their image collections, through which Gaillard has searched over the last several years. Investigative reporters' and photojournalists' documentations of the aftermath of disorderly situations and disasters, both natural and manmade, at first appear as fully intact archetypes, but closer inspection of these images reveal layers of interference, such as editor cropping notes, masking, creases and other marks, that mimic the physical subversion of the subject matter depicted therein.
▲ 《西普里安恩·盖拉德》展览现场，德国柏林朱丽亚·施托舍克收藏，2015.09.26 – 2016.02.14。Installation view of Cyprien Gaillard, Julia Stoschek Collection, Berlin, 2015.09.26 – 2016.02.14.
The diverse archive of images was arranged as a network, presented in uniform frames, united by the application of the artist's re-appropriated insignia of "Chief Wahoo," the red-faced icon of the Cleveland Indians baseball team, to each image. Gaillard's fast, almost reckless application of the cartoon motif to these calamitous scenes repositioned and reclaimed the identity of the laughing mascot by pairing it with images of civilization in states of ostensible disarray, driving home the brutal fact of accident, eradication and morality. Exhibited alongside the photographic compositions, Gaillard presented more works from his Gates series, produced using that most basic of art mediums: graphite, a crystal ore rich not only in the tradition of art history but also technology and industry.
▲ 《KOE》KOE, 2015, 高清录像、无声 Color HD video, no sound；04'17"
Drawing parallels between different cultures and places through architecture, youth culture, industrial tools, nature, and monuments, Gaillard is a modern-day explorer, excavating and bringing back fragments of civilization. The act of extracting and recontextualizing these objects and fragments from their origins results in an aesthetic dislocation concerned with our perception of history. Whether he is capturing freshly paved concrete or neglected nightscapes, Gaillard records our recent history, creating works that encourage us to see the world anew.
Cyprien Gaillard was born in Paris and lives and works in Berlin and New York. He has been the subject of solo exhibitions at a number of major international institutions, including: Julia Stoschek Collection in collaboration with K20 - Kunstsammlung Nordrhein-Westfalen, Düsseldorf; Hammer Museum, Los Angeles; MoMA PS1, New York; Fondazione Nicola Trussardi, Milan; Schinkel Pavillon, Berlin; Centre Georges Pompidou, Paris; Kunst-Werke Institute for Contemporary Art, Berlin; Museum für Moderne Kunst, Zollamt, Frankfurt am Main; and Kunsthalle Basel, Basel.
▶︎ About Gladstone | 关于格莱斯顿画廊
格莱斯顿画廊（Gladstone Gallery）由芭芭拉·格莱斯顿女士（Barbara Gladstone）于1980年在纽约曼哈顿创办，目前在纽约和布鲁塞尔有多家分部。画廊代理超过五十位著名在世和已故的艺术家。
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