记忆的凝结与再现、个人回忆和真实历史之间的矛盾对立 | 安德罗·维库亚（Andro Wekua）
安德罗·维库亚 Andro Wekua
b. 1977 格鲁吉亚苏呼米 (Sukhumi, Georgia)
现生活和工作在柏林与苏黎世
currently lives and works in Berlin and Zürich
▲ 《无题》Untitled, 2014, 蠟、青铜、铝、硅胶、头发、布料、钢 Wax, bronze, aluminum, silicone, natural hair, fabric and steel; 49.5 x 80 x 22.9 cm.
安德罗·维库亚出生于格鲁吉亚的苏呼米，目前在德国柏林和瑞士苏黎世生活与工作。透过个人化的图像与碎片化的叙事之交融，他的作品探索着有关记忆、历史和欲望的种种概念。无论是物件、风景、人物或肖像，这些作品所显现出来的超-真实之美和非理性气质，都使它们与现实世界相分离，并且进行着自我指涉，在熟悉与抽离、亲密与距离之间的相互转化中缓缓展开。在维库亚所创造的错综复杂的世界中，各个不同的元素组合出令人出乎意料、常常如梦如幻的相关性。
▲ 《无题》（局部）Untitled (detail), 2014.
【 记忆与缺失 】
维库亚的整体创作以日常生活里的印象和个人记忆作为原材料，通常围绕着他在黑海沿岸的格鲁吉亚苏呼米的童年生活而展开。1989年，阿布哈兹境内的分离主义者（后来在维库亚所生长的地区宣布独立）残忍地杀害了维库亚的父亲——一位著名的格鲁吉亚政治活动家。维库亚的家人预感到内战即将打响，于是逃往欧洲生活。在维库亚的作品里，其中一个最为明确的主题就是艺术家对苏呼米的碎片化的记忆，这渗透于他对所有创作媒介的实践中。记忆与缺失作为一个更具普遍性的主题，超越了艺术家自传式的描述，为我们理解维库亚的全部作品提供了一个重要的阐释视角。
▲ 《无题》Untitled, 2018, 油彩颜料、丝网印刷油墨、油光漆、板 Oil, silkscreen ink and varnish on two panels; 130 x 125 cm.
作为记忆的延伸，或者说是完整记忆的缺席，梦境和潜意识在维库亚的视觉语言中扮演着重要角色。这些难以解释的图像，比如反复出现的神秘海豚，暗示了艺术家对于不明确事物和欲望之表征的兴趣。像创造梦境一般，维库亚从记忆里的私人图像和流行文化的印象提取出灵感，创造出具有氛围感的场景和戏剧化的呈现效果，挑动着观众精微的感官神经。他的装置作品既令人感觉熟悉，又着实怪诞不经。
▲ 《水池里的海豚》展览现场，莫斯科车库美术馆, 2018.03.17–05.21. / Installation view of Dolphin in the Fountain, Garage Museum of Contemporary Art, Moscow, 2018.03.17–05.21.
维库亚如一位神秘莫测的拼贴主义者，游走在雕塑、绘画、摄影、素描、艺术家书和电影之间。“我总是以一种迂回的方式来处理电影、摄影、拼贴、绘画和雕塑。我有时会把它们融合在一起，有时则不会”，维库亚说道。他近期的个展、也是他在俄罗斯举办的第一场个展，名为“喷水池里的海豚”（Dolphin in the Fountain），展现了艺术家对各种不同媒介的娴熟把控能力。而这些晦涩、怪诞的装置，又进一步质疑了记忆与现实的可靠性。
▲ 《水池里的海豚》展览现场，莫斯科车库美术馆, 2018.03.17–05.21. / Installation view of Dolphin in the Fountain, Garage Museum of Contemporary Art, Moscow, 2018.03.17–05.21.
“事物被所有这些模糊的材料串联起来，那是我们所无法看见和测量的”，维库亚解释道，“这实在让我着迷，也就是我要如何处理这些空的、介于中间的空间。” “喷水池里的海豚”涵盖了维库亚的电影、雕塑和绘画作品，呈现出一个不明确的空间，使记忆、印象和情绪超脱于被准确定义的现实世界而存在。
在这种固定性的缺失、碎片化的结构和怪诞离奇的多媒体手段中，维库亚的作品充满了创造出新存在形式的可能性，它们足以适应当下这个所有知识体系和真相都在消解中的世界。空间、物体和二维平面作品之间的相互碰撞，生成了一种强烈的艺术感召力，它类似于重叠抄本的结构，显露出过往生活的可见踪迹。
▲ 《肖像／燃烧的棕榄》Portrait / Burning Palm, 2016, 油彩颜料、油彩棒、毡笔、丝网印刷油墨、油光漆、铝板 Oil paint, oil stick, felt pen, silkscreen ink and varnish on aluminum panel; 100 x 70 cm. 含边框 101.6 x 72.4 x 3.8 cm framed.
【 绘画 】
在个人历史的浸染中，记忆与其无效性，在维库亚的绘画中以他的朋友、家人和格鲁吉亚的老图片的形式显现，艺术家在这些图像上进行着再创作和再语境化的处理。维库亚的画作里的人物从来不会完整出现，他们常常是带着面具或者根本没有眼睛。艺术家通过分层绘画的手法，以及刻意模糊化特定细节，如脸庞或人物的眼睛，从而揭示出我们无法依赖于记忆来清晰地描述过去的事实，以及记忆终将不可避免地在时间中消逝的必然性。
维库亚的作品像是把一段褪色的记忆重新展开，借由移情作用和事物的歧义性，使之能够转化为任何人的记忆。这些绘画近乎于超现实主义的创作，混合了具象与抽象的表现形式，唤起那些有关记忆的特殊现象符号：记忆的凝结与再现，以及个人回忆和真实历史之间的矛盾对立。维库亚的创作反映了我们的记忆、自省、抽象化和忘却的过程，这些作品最终成为脱离了任何形式的语境而独立存在的片段，构建出它们自己的新生命和叙事。
▲ 《1992》1992, 2009, 油画颜料、原子笔、彩色铅笔、插图、漆笔、粉笔、照片、画布 Oil, ball pen, colored pencil, illustration, laquer pen, pastel chalk and photograph on canvas; 39.7 x 29.7 cm; 含边框 43 x 33 x 4 cm framed.
【 录像 】
碎片化的叙事是安德罗·维库亚在录像作品里常用的表现手法之一。他在第一部短片《荆棘中的百合》（Sicut Lilium Inter Spinas，2003）里截取了自己的童年片段，包括一场婚礼、父亲的出殡、以及各种风景。影片以一栋面朝大海的房子作为开始和结束的画面。维库亚的故乡苏呼米曾是著名的海边度假胜地，它为艺术家后来的创作提供了丰富的记忆、故事和幻想的宝库。然而，对于维库亚而言，记忆并不只在于回忆：他的作品探索着我们对特定图像和情境的反应，激活了记忆与虚构之间的纽带。纵观他所有的电影和拼贴作品，观众会发现所有这些微小的细节都会被串联起来，它们在事实和虚构、个人和集体想象之间建立起一段叙事，并且不断萌发出新的故事。
▲ 《荆棘中的百合》Sicut Lilium Inter Spinas (Like a lily in the back), 2003, 单屏录像 Single channel video projection; 时长 Duration: 07'00".
维库亚先前作品中的线索会时常出现在他之后的作品里。比如，《荆棘中的百合》里的庭院乒乓球台，就在他2010年的影片《从不口含草莓睡觉》（Never Sleep with a Strawberry in Your Mouth）里再次出现。他创作于2008年的影片《在窗边》（By The Window）里，那些围绕着一个腿翘在桌子上的年轻男孩的静态画面而展开的蒙太奇剪辑，其原型就是他2006年的装置作品《滚出我的房间》（Get out of my Room）里的那具“双胞胎”蜡像。反复出现的人物、物件和窗的视觉碎片创造出一种近乎超自然的映像，它们把观者置于一种恍惚状态中，通过同时操控有机的和数字化的记忆，使观众穿行于时间和空间之中。
▲ 《从不口含草莓睡觉》Never Sleep with a Strawberry in Your Mouth, 2010, 单频录像 Single channel projection, full HD 1920 x 1080, Dolby 5.1, color; 时长 Duration: 14'02".
维库亚这样解释道：
在我的作品里，我所关注的问题在于该如何创造既是人工又很自然的东西——与某些真实之物存在着必然联系的人造图像。我能看到很多事物清晰地存在，另一些则模糊不明。就好像有人告诉我刚刚细读了一段记忆，但它却与真实毫不符合。经历，我几乎已经准备好去相信它。这些事物存在于记忆和梦境之间的边界——特别是它们只存在于碎片之中。
▲ 《在窗边》By the Window, 2008, 单频录像 Single channel, projection, 16mm transferred to Blue Ray Disc; 时长 Duration: 08'30".
【 雕塑 】
碎片化的记忆作为强化怀旧情绪和童年记忆的手段，这在维库亚的雕塑作品中或许显得最为清晰。这些作品围绕着他对格鲁吉亚的真实记忆而展开，常常展现着孩童化的人物。
▲ 《滚出我的房间》Get out of my room, 2006, 木料、蠟、头发、布料、皮革、蠟颜料、青铜、漆 Wood, wax, hair, fabric, leather, wax paint, bronze and lacquer paint; Table: 75 x 195 x 100 cm; Figure and chair: 115 x 115 x 71 cm; Eight silkprints: 30.5 x 21.5 cm each; One etching: 42 x 30 cm.
维库亚会经常在这些大型的三维立体结构里融入年轻化的形象，他们多是真人大小、处在青春期的孩子，在石蜡的塑造中像是被冰冻在他们的运动鞋中。这些雌雄共体的形象类似于橱窗模特，他们遗忘了周遭的世界，而且也没有眼睛。因为，按照艺术家自己的话说，他不想让他们与观众产生视线相接。
▲ 《无题》Untitled, 2014, 假发、硅胶、蠟、聚合物石膏、聚氨酯泡沫、钢、玻璃、塑料绳、铸铝、布料、马达、电子元件 Synthetic hair, silicone, wax, polymer plaster, PU foam, steel, glass, synthetic rope, aluminum cast, fabric, motors, electronics and mechanics; 168 x 60 x 161 cm.
在2014年于雅典的贝纳基博物馆举办的个展“粉色追浪者”（Pink Wave Hunter）中，维库亚使用了无人类形象的雕塑装置，以处理碎片化的记忆所引发的缺失感。“粉色追浪者”唤醒了艺术家脑海中对他所生活过的童年小镇的回忆，同时以网络调研成果作为补充，以雕塑的形式再现了这座城市的建筑物。这些建筑平行于记忆的体验及其所无法逃避的差误，它们包含了被维库亚称为“记忆沟壑”的黑色空间。对于他童年生活的城市，维库亚表述道：“我更感兴趣的是这座城市的建筑物，以及其内在特质是如何在外部的消损中不受到侵害以及被储存下来的。对我而言，这座城市一直都是难以触及的，就像是包容万物的海市蜃楼……或许这座城市从未或并不真的存在。”
▲ 《粉色追浪者》展览现场，雅典贝纳基博物馆, 2014.01.30–03.23. / Installation view of Pink Wave Hunter, Benaki Museum, Athens, 2014.01.30–03.23.
维库亚的雕塑展现了一种孤独的怪诞感，与他的其他实践一样，这些作品为我们展现了一个如同空舞台或电影空镜般的忧郁存在，召唤出一个个谜样的场景，质疑了历史、记忆和幻想之间的交集——它们构成了维库亚的视觉世界里最基本的语言。
▲ 《无题》Untitled, 2011, 蠟、木料、钢、布料 Wax, wood, steel and fabric; 150 x 72 x 223.5 cm.
▲ 《作品名称》Face without Surface, 2013, 材料 Oil and oil pastel and pastel on linen; 137 x 172 cm.
【 重要展览、美术馆收藏 】
安德罗·维库亚1977年出生于格鲁吉亚，曾在格鲁吉亚和瑞士巴塞尔学习视觉艺术。他曾在诸多美术馆和机构举办过个展，其中包括：苏黎世美术馆，苏黎世，瑞士；莫斯科车库当代艺术中心，俄罗斯；科隆艺术协会，德国；维也纳艺术馆，奥地利；弗里德里希阿鲁门博物馆，卡塞尔，德国；里沃利城堡当代艺术博物馆，都灵，意大利；威尔斯当代艺术中心，布鲁塞尔，比利时；圣加仑新美术馆，瑞士；温特图尔艺术博物馆，瑞士；博伊曼斯·范伯宁恩美术馆，鹿特丹，荷兰；卡姆登艺术中心，伦敦；德哈伦美术馆，哈勒姆，荷兰；玛加森当代艺术中心，格勒诺布尔，法国；贝纳基博物馆，雅典，希腊。维库亚还曾参加诸多重要群展，其中包括：第54届威尼斯双年展“ILLUMInations”（2011）；“凝视虚空”，古根海姆博物馆，纽约（2010）；第8届韩国光州双年展“万人谱”，（2010）；第55届卡耐基国际艺术展“火星生活”，卡耐基艺术博物馆，匹兹堡，宾夕法尼亚州；第4届柏林双年展（2006）。他的作品收录于诸多公共艺术收藏，包括：纽约现代艺术博物馆；所罗门·R·古根海姆博物馆，纽约；沃克艺术中心，明尼阿波利斯，明尼苏达，美国；尤莉娅·施托舍克收藏，杜塞尔多夫，德国；蓬皮杜艺术中心，巴黎，法国；阿斯楚普·费恩利现代艺术博物馆，奥斯陆，挪威。
▲ 《影子地区》Shadow Area, 2005, 拼贴、喷漆、铅笔、彩色铅笔、毡笔、复印件 Collage, lacquer spray, pencil, color pencil, and felt pen on photocopy; 含边框 33.3 x 28.6 framed.
Andro Wekua was born in Sukhumi, Georgia, but now lives between Berlin, Germany and Zurich, Switzerland. Wekua’s work explores notions of memory, history, and desire through a mixture of personal iconography and fragmented narrative. Whether object, landscape, figure or portrait, the hyper-real beauty and irrationality of Wekua’s works, their detachment from the world and their self-referentiality unfold in an exchange between familiarity and detachment, intimacy and distance. Wekua creates intricate environments in which the various elements form unexpected and often dream-like relationships.
▲ 《沉默2》Silence 2, 2005, 油彩、画布 Oil on canvas; 62.9 x 53 cm.
Absence and Memory
Wekua’s oeuvre is fueled by everyday impressions and personal recollections which often focus on his childhood in the city of Sukhumi on the Black Sea in Georgia. In 1989, Abkhaz nationalists, who would later claim the region in which Wekua grew up, assassinated his father, a notable Georgian political activist. Anticipating the civil war that followed, Wekua and his family fled to Europe. As one of the most explicit themes in his work, Wekua’s fragmented memories of Sukhumi permeate his practice across all mediums. Transcending a solely biographical interpretation of the artist’s work, universal themes of absence and memory become an important interpretive lens for Wekua’s body of work.
▲ 《砖墙》Brick Wall, 2007, 毡笔、彩色笔、粉笔、原子笔、喷漆、丝网印刷、纸 Felt pen, color pen, chalk, ball pen, lacquer spray, silkprint on paper; 24.1 x 34.9 cm; 含边框 44 x 54 cm framed.
As an extension of memory, or perhaps a lack of a complete memory, dreams and the subconscious play a large role in his visual language. The unexplainable, such as the recurrent and cryptic imagery of dolphins, suggests the artist’s interest in ambiguity and the phenomena of desire. Much like the formation of a dream, Wekua draws on remembered personal images and impressions from popular culture, to create atmospherical settings and theatrical presentations that stimulate the viewer’s subtle perceptual sensors. His installations are familiar, yet uncannily so.
Playing the role of a mysterious collagist, Wekua works across sculpture, painting, photography, drawing, artist’s books, and film. “I am always moving in a circuitous way from film, photography, collage, painting, sculpture. Sometimes combining all those elements, sometimes not,” the artist has said. The artist’s recent solo exhibition, and his first solo exhibition in Russia, titled “Dolphin in the Fountain,” is exemplary of Wekua’s ability to work between mediums to create ambiguous and uncanny installations that question the reliability of memory and reality.
▲ 《水池里的海豚》展览现场，莫斯科车库美术馆, 2018.03.17–05.21. / Installation view of Dolphin in the Fountain, Garage Museum of Contemporary Art, Moscow, 2018.03.17–05.21.
“Things are held together with all this blurry material, which we cannot see or measure,” Wekua explains. “That’s interesting for me, how I approach these empty, in-between spaces.” Featuring film, sculpture, and paintings, “Dolphin in the Fountain,” represented a place of uncertainty, where memories, impressions, and emotions exist beyond a world defined by fixity.
▲ 《无题》Untitled, 2009, 彩色冲印、杂志、油彩、毡笔、漆笔、杂志页面 C-print, magazine, oil, felt pen, lacquer pen on magazine page; 58.1 x 49.5 cm.
In its lack of fixity, fragmented structure, and uncanny multimedia, his work is imbued with the potential to create new forms of life to match the contemporary world of devalued knowledge and truth. The interplay between space, objects, and two-dimensional works results in an artistic impact that is not unlike the structure of a palimpsest, altered with visible traces of a past life.
▲ 《A肖像，铬》A. Portrait, Chrome, 2016, 油彩颜料、油彩棒、丝网印刷油墨、油光漆、铝板 Oil paint, oil stick, silkscreen ink and varnish on aluminum panel; 100 x 70 cm; 含边框 101.6 x 72.4 x 3.8 cm framed.
Painting
Contextualized by his personal history, the role of memory, and its failures, appears often in his paintings as images of friends, family, and old pictures of Georgia which he then paints over and decontextualizes. The characters in his paintings are never fully revealed and are often depicted wearing masks or with unseeing eyes. Through a method of layering paint, and by purposefully obscuring certain details such as the faces or eyes of the figures, Wekua speaks to our inability to rely on memory to accurately describe the past and the inevitability for memories to degrade with time.
▲ 《蓝色面具》Blue Mask, 2008, 油彩、画布 Oil on canvas; 80 x 69.9 cm; 含边框 83.2 x 73.3 cm framed.
Oscillating between empathetic connection and vague ambiguity, his paintings unfold like a fading memory that feels as though it could belong to someone else. Verging on surreal, his paintings intermingle figurative and abstract renderings, recalling the very phenomenology of remembering: the condensation and screening of memory and the contradiction between personal reminiscence and actual history. Wekua’s creative process mirrors that of our memory, self-reflecting, abstracting and effacing, and his finished works become isolated fragments removed from any sort of context, taking on a new life and narrative of their own.
▲ 《荆棘中的百合》Sicut Lilium Inter Spinas (Like a lily in the back), 2003, 单屏录像 Single channel video projection; 时长 Duration: 07'00".
Video
Fragmented narrative is the modus operandi in Andro Wekua’s video works. His first short film, Sicut Lilium Inter Spinas (Like a lily in the back) (2003), evokes fragments of the artist’s childhood which include a wedding, his father’s funeral procession, and various landscapes. The projection begins and ends with the image of a house overlooking the sea. Wekua’s home town, Sukhumi, which was once a renowned seaside resort, has left the artist with a rich well spring of memories, stories and imaginings that are perceptible across the artists oeuvre. Yet Wekua is not interested in memories for their own sake: his works explore our reactions to certain images and situations, oscillating between memory and fiction. Exploring his film works as a whole, as with his collages, viewers can combine all the micro-narratives, narratives that mingle fact and fictions, as well as personal and collective imaginings, constantly giving rise to new stories.
▲ 《从不口含草莓睡觉》Never Sleep with a Strawberry in Your Mouth, 2010, 单频录像 Single channel projection, full HD 1920 x 1080, Dolby 5.1, color; 时长 Duration: 14'02".
Details unearthed in previous works often reappear. A courtyard ping pong table, seen in Sicut Lilium Inter Spinas (Like a lilyin the back) (2003), finds its way into Wekua’s 2010 film, Never Sleep with a Strawberry in Your Mouth. In Wekua’s 2008 film, By The Window, the haunting montage of images circulate around a static scene of a young boy propping his feet upon a desk, a wax twin figure that appeared in the artist’s 2006 installation Get out of my Room. Recurring fragments, such as the visual repetition of figures, objects, and windows that function more like psychic screens, keep the viewer in a state of limbo, transporting them through time and space through the manipulations of both organic and digital memory.
▲ 《在窗边》By the Window, 2008, 单频录像 Single channel, projection, 16mm transferred to Blue Ray Disc; 时长 Duration: 08'30".
Wekua has suggested, “In my work, it’s a question of attempting to create something artificial and natural—artificial figures that have to do with something real. I can see many things sharply, while I can perceive others only as a blur. If someone tells me that I’ve just read up a memory and it doesn’t correspond to any true experience, I’m almost ready to believe it. These things are at the boundary between memory and dream—especially because they’re only present in fragments.”
▲ 《滚出我的房间》Get out of my room, 2006, 木料、蠟、头发、布料、皮革、蠟颜料、青铜、漆 Wood, wax, hair, fabric, leather, wax paint, bronze and lacquer paint; Table: 75 x 195 x 100 cm; Figure and chair: 115 x 115 x 71 cm; Eight silkprints: 30.5 x 21.5 cm each; One etching: 42 x 30 cm.
Sculpture
The role of fragmented memory as an element of nostalgia and childhood recollections manifests most clearly perhaps in Wekua’s sculptural work, which most tangibly revolve around his memories of Georgia and often feature child-like figures.
▲ 《应有标题》Should be titled, 2010-2011, 蜡像（有色蠟、聚氨酯泡沫、钢、布料、假发）、铸铝 Wax figure (pigmented wax, PU-foam, steel, textile, artificial hair) and cast aluminum; 65 x 185 x 60 cm.
Wekua often furnishes his larger three-dimensional structures with these youthful figures, mostly life-sized prepubescent children made of wax that appear frozen in their sneakers. In their androgyny, they resemble mannequins. His figures are oblivious to the world and have no eyes because the artist does not want them to return the visitor’s gaze, as he says.
▲ 《粉色追浪者》展览现场，雅典贝纳基博物馆, 2014.01.30–03.23. / Installation view of Pink Wave Hunter, Benaki Museum, Athens, 2014.01.30–03.23.
For Wekua’s 2014 exhibition at the Benaki Museum in Athens, titled “Pink Wave Hunter,” he utilized sculptural installation, with a lack of human figures, to approach fragmented memory as a feeling of absence. “Pink Wave Hunter” conjured up images of the artist’s childhood town from memory and, supplemented by online research, created sculptural representations of the city’s buildings. Paralleling the experience of memory and its inevitable faults, the buildings contained blank spaces that corresponded to what Wekua refers to as “memory gaps.” On the city of his childhood, Wekua has said, “I am more invested in the architecture of this city, and how its nature is being conserved and untouched while being allowed to deteriorate. For me this city is constantly unreachable, a mirage of sorts... maybe this city does not and has never existed.”
▲ 《粉色追浪者（阿布哈兹酒店）》Pink Wave Hunter (Hotel Abkhazia), 2010-2011, 中密度纤维板、蠟、铝板 MDF, wax and aluminum sheet; 54 x 134 x 121 cm.
Imbued with a sense of lonely uncanny, Wekua’s sculptures, much like the rest of his practice, offer a melancholic presence synonymous with empty stage sets and movie facades, invoking some enigmatic scene that questions the intersections of history, memory, and fantasy - the basic language of Wekua’s visual world.
▲ 《无题》Untitled, 2018, 油彩、丝网印刷油墨、板 Oil and silkscreen ink on panel; 85 x 125 cm.
About the Artist
Andro Wekua was born in 1977 in Georgia, and studied visual arts there and in Basel, Switzerland. Solo museum exhibitions include Kunsthalle Zürich, Switzerland; Garage Museum of Contemporary Art, Moscow, Russia; Kölnischer Kunstverein, Cologne, Germany; Kunsthalle Wien, Austria; KunsthalleFridericianum, Kassel, Germany; Castello di Rivoli, Turin, Italy; Wiels, Brussels, Belgium, Neue Kunst Halle, St. Gallen, Switzerland; Kunstmuseum Winterthur, Switzerland; Museum Boijmans van Beuningen, Rotterdam, Netherlands; Camden Arts Center, London; the De Haalen Haarlem, Netherlands; Le Magasin,Grenoble, France; and the Benaki Museum, Athens, Greece. He has participated in various group shows including ILLUMInations at the 54th Venice Biennale (2011), Contemplating the Void at the Guggenheim Museum in New York (2010), 10,000 Lives, 8th Gwangju Biennale, South Korea (2010), Life on Mars: 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, and the 4th Berlin Biennial (2006). His work is included in notable public collections such as the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Walker Art Center, Minneapolis, Minnesota; Julia Stoschek Collection, Dusseldorf, Germany; Centre Pompidou, Paris, France; Astrup Fearnley Museum for Modern Art, Oslo, Norway.
▲ 艺术家安德罗·维库亚 Andro Wekua. 摄影 / Photo: Till Janz
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四家分部。画廊代理将近六十位著名在世和已故的艺术家。
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