在梦和战争中一切都是平等的 | 安德罗·维库亚（Andro Wekua）在苏黎世美术馆（Kunsthalle Zürich）

安德罗·维库亚 Andro Wekua

《在梦和战争中一切都是平等的》

All is Fair in Dreams and War

苏黎世美术馆 | 瑞士苏黎世

Kunsthalle Zürich, Zürich

展期：2018.06.09－08.05

▲ 《在梦和战争中一切都是平等的》展览现场，苏黎世美术馆, 2018.06.09–08.05 / Installation view of All is Fair in Dreams and War, Kunsthalle Zürich, Zürich, 2018.06.09–08.05.

这个夏天，苏黎世美术馆隆重呈献安德罗·维库亚迄今为止最大规模的个展“在梦和战争中一切都是平等的”（All is Fair in Dreams and War）。这场持续至8月5日的展览，涵盖了维库亚的新雕塑、近期创作的绘画和拼贴、部分旧作和此前鲜为人知的作品，同时他的新电影作品也会在展览上首次亮相。维库亚的艺术对观众一视同仁——无论你是否恰巧喜欢它们。他的作品毫无遮拦，富有强烈的表现力，展现了艺术家对于材料、形式和布局的高度理解，凸显着图像同时散发出诱惑力和排斥性的独特气质。这些作品开启了一个具有感召力而常常怪诞不经的空间。它们存在于过去与未来之间，召唤出一个使时间短暂驻足的当下。

▲ 《折叠的日落》Folded Sunset, 2012, 丙烯石膏、木料、钢、石膏板、丙烯颜料、彩色铸造玻璃、不锈钢 Acrylic plaster, wood, steel, gypsum fiber board, acrylic paint, pigmented cast glass and stainless steel; 195.6 x 151.8 x 150.5 cm.

▲ 《折叠的日落》（局部）Folded Sunset, (detail), 2012.

纵观维库亚的作品，其中丰富多元的主题经过重新组合，有如一盘下了二十年才逐渐明朗的棋局：房子、风景、内饰、动物、人物、脸庞和机器。我们对这些变体并不陌生，它们是对音乐、文学和电影之中种种意象的重新表述和交错叠加。对于艺术而言，这种创作手法险些被遗忘，或者被错误地等同于重复。然而，维库亚的作品强调了主题的重要性，以及它们是如何循环往复，捕获住印象、记忆、还有那不可名状之物。于是，灵魂的风景浮现出来， 其深刻性或许令人欣然逃脱，那就离开展览吧。

▲ 《窗》Window, 2010, 铝、玻璃、丙烯 Aluminum, glass and acrylic; 220 x 140 cm.

这些无论如何都不是时间之外的内心独白。历史在此扮演了重要角色——或者更确切地说：展现了另一种历史体验。维库亚的艺术根植于他的兴趣和他1995年之后在西方的生活，当然还有他此前在索楚米、第比利斯、特别是在内战中的格鲁吉亚生活的经历。他的作品见证了西方与东方相遇，或者更为准确地说，是东方遭遇了西方——尽管人们更愿意反过来说。但毕竟，这段复杂和矛盾的纠缠“ 把矛头直接指向了一切归属于艺术体系里的东西”（维库亚）。颜色是核心，但还有——有点令人出乎意料——缝隙。正是他作品中的那些“停顿”与“标点”，它们既微不足道又表明了一切。毕竟，一道裂痕是完全依赖于它所从属的结构而存在，如果没有背景，它就不会显现。如果没有缝隙，就不存在电影（剪辑即是裂缝），也不存在拼贴（拼合着切割之物）。这对维库亚的雕塑或任何一件他近期的画作来说也是如此，它们之中有很多都是第一次在苏黎世呈现。裂缝以其恣意和霸道提醒着我们，艺术总是关乎构图；它是人工的，就像文字、电影或舞台一样，都是凝缩的现实。此次在苏黎世美术馆举行的个展，恰为我们提供了这样一种双重体验：在梦和战争中一切都是平等的。

▲ 《在梦和战争中一切都是平等的》展览现场，苏黎世美术馆, 2018.06.09–08.05 / Installation view of All is Fair in Dreams and War, Kunsthalle Zürich, Zürich, 2018.06.09–08.05.

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。

▲ 《在梦和战争中一切都是平等的》展览现场，苏黎世美术馆, 2018.06.09–08.05 / Installation view of All is Fair in Dreams and War, Kunsthalle Zürich, Zürich, 2018.06.09–08.05.

▲ 《W肖像》W. Portrait, Yellow Breath, 2018, 油彩颜料、丝网印刷油墨、油光漆、铝板 Oil paint, silkscreen ink and varnish on aluminum panel; 含边框 172 x 127 cm framed.

This summer Kunsthalle Zürich presents the largest solo exhibition to date of Wekua’s work, titled “All is Fair in Dreams and War.” On view, through August 5, are older and little-known works, as well as new sculptures, a selection of current paintings and collages as well as the world premiere of his newest film. Wekua’s art leaves no one indifferent, whether you happen to like the work or not. It is unabashed and intensive, it shines with a knowledge of materials, form, staging and the power of images possesses a distinctive feeling for both enticement and denial. The result is the creation of evocative and often uncanny spaces. They are places between before and after that serve to conjure a present where time itself appears to be waiting.

▲ 《在梦和战争中一切都是平等的》展览现场，苏黎世美术馆, 2018.06.09–08.05 / Installation view of All is Fair in Dreams and War, Kunsthalle Zürich, Zürich, 2018.06.09–08.05.

▲ 《喷水池里的海豚》（局部）Dolphin in the Fountain, (detail), 2017-2018.

Taking a long view of the work, the various motifs that the artist has been reconfiguring like a set of chess pieces for twenty years become apparent: the house, the landscape, the interior, the animal, the figure, the face, the machine.  We know this variation, re-formulating and interlacing of motifs from music, literature and film. In art, this approach has been somewhat forgotten, or is erroneously equated with repetition. However, Wekua’s work shows how important motifs are, how they circle and capture impressions, memories and the unutterable. Landscapes of the soul are thus evoked, whose depths one might gladly wish to escape, be it by leaving the exhibition.

▲ 《在梦和战争中一切都是平等的》All is Fair in Dreams and War, 2018, 单频录像、声音 Single channel color projection with stereo soundtrack by Joerg Hiller; 时长 Duration: 05'05".

These are by no means just apparent inner-worlds outside of time. History plays an important role here – or to put it better: another experience of history. Wekua’s art has been beholden to his interests and his life in the West since 1995, but also to his time before that in Sochumi, Tbilisi and civil war-affected Georgia. In his work west meets east, or more precisely east encounters west, though not as opposites, as many would like to see it, but as a complex and contradictory entanglement: “It is directed against everything that belongs to the system of art” (Wekua). Color is central, but also – some what surprisingly – the seam. It is the scar and the punctuation mark of his work, nothing and yet everything. Because a seam is wholly dependent on the parts which it connects, and without them it is lost. Without a seam there is no film (the cut is a seam), no collage (joined bycutting). The same is true for Wekua’s sculptures or any of his latest paintings, many of which are on view for the first time in Zürich. In its arbitrariness, the seam reminds us that art is always a composition; that it is artificial, and like a text, a film, or a stage, reality is condensed. This double experience is what we are exposed to in Kunsthalle Zürich: All is Fair in Dreams and War.

▲ 《持有蓝色》Blue Hold, 2017-2018, 陶瓷、综合材料 Ceramic and mixed media; 含边框 142 x 52 x 30 cm.

▲ 《持有蓝色》（局部）Blue Hold, (detail), 2017-2018.

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.

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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