窗户、太阳、浪漫主义 | 乌戈·罗迪纳 Ugo Rondinone

乌戈·罗迪纳 Ugo Rondinone

漂浮的云

drifting clouds

格莱斯顿画廊 | 纽约西24街515号（切尔西区）2018.09.22-10.27

格莱斯顿画廊 | 纽约西21街530号（切尔西区）2018.09.22-11.03

Gladstone Gallery two locations, New York

▲ 《漂浮的云》展览现场，格莱斯顿画廊, 2018.09.22–10.27 / Installation view of drifting clouds, Gladstone Gallery, New York, 2018.09.22–10.27

▲ 《十二个日落、二十九个黎明、一体化》twelve sunsets, twenty nine dawns, all in one, 2008, 丙烯酸石膏 Acryl plaster; 29.5 x 32 x 1.2 cm.

这个秋天，格莱斯顿画廊将在纽约切尔西区的两个空间内呈现一场艺术家乌戈·罗迪纳（Ugo Rondinone）的展览，届时将展出三部分相互独立又关联的作品。这些大型景观绘画、窗和太阳雕塑产生于罗迪纳多年的创作实践，它们直接体现了罗迪纳对德国浪漫主义及其代表性艺术人物卡斯巴·大卫·佛烈德利赫（Caspar David Friedrich）的持续探索。艺术家以其个人的后-浪漫主义手法重新唤醒着日常物件——如树枝或窗框——构建出一个极具个性特点的诗意世界。在形式和更普遍方向上的多样性构成了其作品美学与哲学的核心张力：自然与人性，外部世界与精神世界，扩张与私密，有机与人工。罗迪纳将这些对立点有机地转化成为物理和时间的场域，从而激发出新的自省和更普遍的联结。

▲ 《fuenftermaizweitausendundelf》fuenftermaizweitausendundelf, 2011, 纸上墨水、画布、有机玻璃标签 Ink on paper mounted to canvas and plexiglass plaque with caption; 272.4 x 427.4 cm.

▲ 《fuenftermaizweitausendundelf》（局部）fuenftermaizweitausendundelf (detail),  2011.

罗迪纳自1989年开始创作覆盖整个表面的棕褐色树木风景画，它们奠定了其整体创作的根基。这些作品令人联想到浪漫主义风景画家罗道夫·布雷斯丁和塞缪尔·帕尔默的绘画。罗迪纳使用影线画法，使盘屈的树干、交缠的枝节和过密的叶片呈现出引人入胜的可触感。借由这种方式，它们延伸了“wanderzeichner”也就是“游荡的画家”的传统——并使之融入于当下。这些大尺幅绘画以艺术家对对单一植物的自然主义写生作为素材，将以户外写生为基础的现实主义替换为虚构的想象，把它们拼凑成为属于罗迪纳的造物世界。这些绘画召唤着观者进入一个幽暗的世界，它们令人想到自然在浪漫主义关于崇高的理念中所扮演的重要角色。德国著名哲学家和景观设计师C·C·L·赫什菲尔德在他的《园林艺术理论》（Theories of Garden Art，1775/77）中，曾经预言到如此广阔而富有戏剧性的景观之核心就是延展：罗迪纳的景观的诱人之处也在于激发观者感受到其“不再归于日常，而是处在远高于我们的处境之上的力量和决心之中。”

▲ 《vierteraprilzweitausendundelf》vierteraprilzweitausendundelf, 2011, 纸上墨水、画布、有机玻璃标签 Ink on paper mounted to canvas and plexiglass plaque with caption; 271 x 405 cm.

▲ 《vierteraprilzweitausendundelf》（局部）vierteraprilzweitausendundelf (detail), 2011.

格莱斯顿画廊将在纽约西21街空间内展出一件大型的太阳雕塑，这件作品展现了一个独立的镀铜环状结构，其原型是环绕的树枝形态。作品中，每节树干的末端被切钝，其生出的细枝相互联结，将环状的太阳固定于地面——尽管它看上去像是悬浮于空中。通过使用与大地紧密相关的意象来构建出这个天体，罗迪纳的太阳雕塑赞颂着抒情诗般的矛盾性——它们勾勒出本体论的边界，也描绘出它们最终将如何在美学形态的转化潜能中走向破灭。除此之外，画廊的两个空间还将呈现罗迪纳的窗系列雕塑——用金属铸造的十九世纪窗外框，每一件都以佛烈德利赫的画作名字来命名，其中包括《漂浮的云》，也就是本次展览标题的由来。在此，罗迪纳无意去展现作家柯特·沃勒在看到佛烈德利赫的工作室时所写下的“天堂全景”，这些窗玻璃磨光后的不透明性也正是罗迪纳作品的重要特征之一。对他而言，从对自然世界之崇高性的彻底折服到孤独的自我反思之间的转变，见证了浪漫主义模式独特的戏剧张力，也令人回想起十九世纪批评家沃尔特·佩特（Walter Pater）对感官体验的描述——最终将成为“个体在孤立状态中所产生的印象，每个人都作为一个孤独的囚犯保留着自己对世界的梦想。”

▲ 《漂浮的云》展览现场，格莱斯顿画廊, 2018.09.22–10.27 / Installation view of drifting clouds, Gladstone Gallery, New York, 2018.09.22–10.27

关于乌戈·罗迪纳

乌戈·罗迪纳1964年出生于瑞士布鲁嫩，目前在纽约生活和工作。他近期个展的举办机构包括：巴斯艺术博物馆，迈阿密；伯克利艺术博物馆和太平洋电影资料馆；辛辛那提当代艺术中心；旺多姆广场，巴黎；罗马当代艺术博物馆和图拉真市场；波士顿当代艺术博物馆；尼姆当代艺术中心，法国；博曼斯-范-贝尼根美术馆，荷兰；阿纳瓦卡依博物馆，墨西哥城；上海外滩美术馆；M美术馆，鲁汶，比利时；基克拉迪艺术博物馆，雅典；维也纳艺术馆；多尔德霍特-达内斯博物馆，比利时。2016年，罗迪纳的大型公共艺术作品《神奇七山》在拉斯维加斯郊外呈现，这件作品由艺术创作基金会和内华达州艺术博物馆联合制作。去年，他策划的覆盖全城的展览“乌戈·罗迪纳：我♥约翰·吉奥诺”在曼哈顿的十三个展览场所中呈现，艺术家借此向他的人生伴侣致敬。目前，罗迪纳的作品正在丹麦埃索的阿尔肯现代艺术博物馆中展出，展览持续至今年年底。

▲ 《日升之前的女人》woman before the rising sun 1818, 2016, 铸铝 Cast aluminum; 84.5 x 69 cm.

▲ 《日升之前的女人》（局部）woman before the rising sun 1818 (detail), 2016.

This fall, Gladstone Gallery presents an exhibition of three distinct yet interrelated bodies of work by Ugo Rondinone in both Chelsea locations. Developed throughout his practice, these large-scale landscape drawings, window, and sun sculptures speak directly to Rondinone’s continued exploration of German Romanticism and its key artistic figure, Caspar David Friedrich. Reanimating commonplace objects—such as tree branches or window frames—in his own Neo-Romantic signature, he creates a lyrical world of his own. This formal and generic diversity mines the fecund aesthetic and philosophical tensions central to his work: nature and humanity, exterior world and inner life, expansion and intimacy, organic and artificial. Rondinone stylizes these dichotomies into new physical and temporal sites of self-reflection and universal connection.

▲ 《漂浮的云》展览现场，格莱斯顿画廊, 2018.09.22–10.27 / Installation view of drifting clouds, Gladstone Gallery, New York, 2018.09.22–10.27

Rondinone’s sepia drawings of wooded landscapes have been foundational to his oeuvre since 1989. Reminiscent of the drawings of Romantic landscape painters Rodolphe Bresdin and Samuel Palmer, the haptic idiosyncrasies of Rondinone’s hatching gestures manifest in absorbing tableau of knotted trees, twisting branches, and overabundant foliage. In this way, they extend the tradition of the wanderzeichneror wandering draughtsman—a sylvan progenitor to the urban flaneur—into the present day. Exchanging plein air realism for imaginative fiction, these large-scale drawings come from an archive of the artist’s own naturalist sketches of individual flora; they are then patchworked together into a world of Rondinone’s creation. Seducing the viewer into darkness, these drawings recall nature’s central role in the Romantic conception of the sublime. In his Theories of Garden Art (1775/77), noted German philosopher and landscape designer C.C.L. Hirschfeld presaged the soul expanding properties of such expansive and dramatic vistas: Rondinone’s beguiling landscapes, too, inspire one to feel that one “no longer belongs to the everyday, but instead is a being of power and determination manifesting far beyond the point at which we stand.”

▲ 《太阳》the sun, 2018, 金箔、铜 Gilded bronze; 490.2 x 535.9 x 53.3 cm.

▲ 《太阳》（局部）the sun (detail), 2018.

Gladstone’s 21st street location will feature a monumental sun sculpture, a single ring of gilded bronze, cast from encircling tree branches. Blunt ends of the individual tree trunks and the punctae of twigs bind the sun to the ground, even as it seems to hang in the air. Evoking the celestial body using antecedents of the earth, Rondinone’s sun celebrates the lyrical paradoxes that contour ontological boundaries and how they eventually collapse via the aesthetic gesture’s potential to transform. Both spaces include examples of his series of window sculptures—metal casts of nineteenth-century window casings each named for one of Friedrich’s paintings, including drifting clouds, where this exhibition takes its name. Defying the expectation of revealing a “heavenly panorama” ofthe kind writer Kurt Waller noted he saw in the views from Friedrich’s studio, the burnished opacity of these window panes marks a key distinction in Rondinone’s practice. For him, the shift between complete absorption in the natural world’s sublimity to the solitude of self-reflection hearkens to dramatic tensions that distinguish the Romantic mode, while also recalling nineteenth century critic Walter Pater’s evocation of sensual experience as ultimately “the impression of the individual in his isolation, each mind keeping as a solitary prisoner its own dream of a world.”

▲ 《漂浮的云》展览现场，格莱斯顿画廊, 2018.09.22–11.03 / Installation view of drifting clouds, Gladstone Gallery, New York, 2018.09.22–11.03

About the Artist

Ugo Rondinone was born in 1964 in Brunnen, Switzerland and currently lives and works in New York. Rondinone has been the subject of recent solo exhibitions at institutions including: Bass Museum of Art, Miami; Berkeley Art Museum and Pacific Film Archive, Berkeley; Contemporary Arts Center, Cincinnati; Garage Museum of Contemporary Art, Moscow; Place Vendôme, Paris; MACRO and Mercati di Traiano, Rome; The Institute of Contemporary Art, Boston; Museum Boijmans van Beuningen, Rotterdam; Museum Anahuacalli, Mexico City; Rockbund Art Museum, Shanghai; Museum of Cycladic Art, Athens; Kunsthistorisches Museum Wien, Vienna; and Museum Dhondt-Dhaenens, Deurle, Belgium. In 2016, Rondinone’s large-scale public work seven magic mountains opened outside Las Vegas, co-produced by the Art Production Fund and Nevada Museum of Art. Last year, Rondinone curated a city-wide exhibition, “Ugo Rondinone: I ♥ JohnGiorno,” which honored the artist’s life partner in thirteen venues throughout Manhattan. His work is currently on view at the Arken Museum of Modern Art in Ishøj, Denmark through the end of the year.

▲ 《漂浮的云》展览现场，格莱斯顿画廊, 2018.09.22–10.27 / Installation view of drifting clouds, Gladstone Gallery, New York, 2018.09.22–10.27

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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