展览漫游 | Exhibition Wander
「展览现场」France-Lise McGurn / 弗兰丝-利斯·麦古恩, Percussia, Simon Lee Gallery, London, 2020
All images courtesy the artist and Simon Lee Gallery
当人们站在France-Lise McGurn (b.1983) 自由的艺术空间和漫天的速写人物的面前时，会很快发现，France-Lise的画有一种即刻将你拉入她的线条世界中的魔力：轻快明亮的笔触自信果断地勾勒出一个姿态放松或坐或立的优美的经典女神的形象；一个没有明显情绪但却充满感染力仿佛在哪里见过的青年肖像；又或是一组组舞动的人物和他们自然随意的肢体动作还有独处或放空时才会露出的神态表情……一切仿佛记忆共识的画面正重重叠叠地映入脑海。
France-Lise McGurn's paintings have a magical power that draw people into her painting world. Figures are decisevely outlined by light and bright strokes: a graceful and relaxing woman, a young man with no obvious expressions or emotions but still being infectious as if seen before; or a group dancing in empty movements...All these vivid figures are sunddenly breaking into viewers' sight.
「展览现场」只见颜料越出了画框，渗入了画廊墙壁，流畅又自由；墙面依然大片留白，令整个“空间绘画”轻盈又荒芜
在Simon Lee画廊伦敦空间刚闭幕的展览《Percussia》中，France-Lise展出了布面综合材料新作、纸本作品和场域特定壁画，整个展览氛围打破了传统商业画廊的冷调和既定格式，转而成为了一件完整的三维空间作品；墙面上看似“随意”嵌入的绘画作品本身更像是成为了整个空间绘画的“聚焦窗口”，在打破经典“模式”后又立即通过人物间被冲散的位置间隐秘的关联性，重构了关于复杂人性的多重叙事方式和关于无常生活的探索阐释。(“Percussia”是敲击乐的衍生词，拉丁词源为“percussio”，代表力量和强度；和同时期的“格拉斯哥国际艺术节 (Glasgow International)” Tramway空间的展览标题《In Emotia》 (意即同时沉浸于某种情绪和运动状态中) 刻意组成了一对相关词汇，France-Lize在近期采访中提及时说这两个词更像两只跃动的暹罗猫的名字)
In the recently closed exhibition Percussia at Simon Lee London, France-Lise's new works on canvas, paper works and site-specific murals were on show. The exhibition broke the cold tone and the established format of traditional commercial galleries and turned it into a three-dimensional space work; the paintings that seem to be "randomly" embedded on the wall are more like a "focus window" for the whole painting space. The hidden connection between locations reconstructed multiple narrative about complex human nature and exploratory interpretations of impermanence. ["Percussia" derivates from percussion and the Latin etymology is "percussio", representing strength and strength; echoes the title In Emotia (meaning simultaneously immersed in a certain mood and movement state) in Glasgow International Arts Festival].
「展览现场」France-Lise McGurn / 弗兰丝-利斯·麦古恩, In Emotia, Tramway, Glasgow, 2020
Images courtesy the artist and Tramway, Glasgow
除《Percussia》和《In Emotia》两个瞩目个展外，France-Lise McGurn的作品也正于Simon Lee画廊纽约空间的最新群展中、与其他两位女性艺术家的人物绘画共同展出。
「展览现场」France-Lise McGurn / 弗兰丝-利斯·麦古恩, In Emotia, Tramway, Glasgow, 2020
艺术家 | About the Artist
她是当之无愧的绘画天才。出生于英国北部格拉斯哥，France-Lise说话时语速非常快、思维也很活跃，精力充沛；创作时落笔速度之快也相当惊人，创作一幅画通常只需要三天。在她的画面上，流畅的人物轮廓、破框而出的力量感十足的线条和在墙面上延伸作画的明亮大色块，都能让观众感受到艺术家令人惊叹的作品能量和创作天赋。France-Lise McGurn作为英国年青女性艺术家，是同类型同梯级艺术家中非常突出和亮眼的一位。作为国际画廊Simon Lee近年新代理艺术家，她也确实是旗下四十位艺术家中实力不凡且风格鲜明的一位。
Born in Glasgow in the north of the UK, France-Lise is very active and energetic painting talent. It usually takes only three days for her to create a painting. Audience can feel her amazing energy and creative talent through the smooth silhouettes of the characters on the screen, the powerful lines of power coming out of the frame, and the bright large color blocks extending on the wall.Self-control, 2019, Oil, spray and marker on canvas, 180 x 160 x 4.5 cm
Tempo Nausea, 2019, Oil and spray on canvas, 120 x 120 x 4.5 cm
Sleepover (Yeux), 2019, Ink and acrylic on paper, marker on glass, 52.5 x 70 x 1.5 cm
艺术家France-Lise McGurn和她在Tate St. Ives时布展时的场景
France-Lise McGurn 1983年生于英国格拉斯哥，并在此生活和工作。她在邓肯乔登斯坦艺术学院完成学业后，在2012年于纽约亨特艺术学院和英国伦敦皇家艺术学院同时获得硕士学位。2005年，她获得苏格兰皇家学院John Kinross奖学金前往佛罗伦斯。她曾获John Milne Purvis奖（2005年）和Jeremy Cubbitt奖（2010年）。她的作品多次于博物馆和画廊作个人展览，最近一次是Art Now：France-Lise McGurn，失眠，泰特美术馆，英国伦敦(2019年); Archaos，Alison Jacques Gallery ，英国伦敦(2017年) 及 Mondo Throb，Bosse and Baum，英国伦敦 (2016年)。近期群展包括：标记制作：绘画的观点，格拉斯哥现代艺术美术馆，英国格拉斯哥 (2019年); 葡萄干的弱点， CCA，英国格拉斯哥 (2018年); 基础绘画展，格拉斯哥国际视觉艺术节，英国心脏基金会，英国格拉斯哥(2018年); Virginia Woolf: 一个灵感来自她写作的展览，Tate St Ives美术馆，英国圣艾夫斯 (2018年); Wall-Sun-Sun，Une Une，法国佩皮尼昂 (2017); (X)幻想，大卫·罗伯兹艺术基金会，英国伦敦 (2017年) 及 Le Nouveau Voyeurisme，Hotel Contemporary，意大利米兰 (2017年)。
Born in 1983, France-Lise McGurn lives and works in Glasgow, UK. After completing her studies at the Duncan of Jordanstone College of Art, Dundee, UK she obtained her masters at the Hunter College of Art, New York, NY and the Royal College of Art, London, UK both in 2012. In 2005, she was awarded the John Kinross Scholarship to Florence by the Royal Scottish Academy. She has also received the John Milne Purvis prize (2005) and the Jeremy Cubbitt prize (2010). Her work has been the subject of multiple solo museum and gallery exhibitions, most recently Art Now: France-Lise McGurn, Sleepless, Tate Britain, London, UK (2019); Archaos, Alison Jacques Gallery, London, UK (2017) and Mondo Throb, Bosse and Baum, London, UK (2016). Recent group exhibitions include Mark Making: Perspectives Of Drawing, Gallery of Modern Art, Glasgow, UK (2019); A Weakness For Raisins, CCA, Glasgow, UK (2018); Foundation Painting Show, Glasgow International, British Heart Foundation, Glasgow, UK (2018); Virginia Woolf: An Exhibition Inspired By Her Writings, Tate St. Ives, St. Ives, UK (2018); Wall-Sun-Sun, Une Une, Perpignan, France (2017); (X)A Fantasy, David Roberts Art Foundation, London, UK (2017) and Le Nouveau Voyeurisme, Hotel Contemporary, Milan, Italy (2017).
France-Lise曾于2017年参加了英国泰特圣艾夫斯美术馆 (Tate St. Ives) 的驻留项目，在那期间她受到了很多来自传统绘画和雕塑中的经典人物形象的影响，并进行了大量速写练习。回到工作室后，在行为表演等当代艺术文化的影响下，她画中的人物逐渐变得更加灵动、充满韵律。
France-Lise has participated in the residency project of Tate St. Ives in 2017, during which she was influenced by many classic characters from traditional painting and sculpture, and trained herself by a lot of sketching exercises. After returning to the studio, under the influence of performance and contemporary art, the characters in her paintings became more agile and rhythmic.
Puttanesca, 2016, Gesso, oil, acrylic and spray paint on canvas, 160 x 150 cm
White wine, 2019, Oil, acrylic and spray on canvas, 220 x 200 x 4.5 cm
从某种程度上而言，France-Lise的画偏向“新古典主义” (文艺复兴时期的美学作为创作的指导思想，崇尚古风、理性和自然)；但渐渐地，她画面中的人物成为了一种所有人记忆中的共同认知。在仅保留古典人物形象的 “草图轮廓 (sketch drawing)” 的同时，她也并不拒绝使用典型的“当代”创作材料：除传统油画颜料外，她还会同时使用了丙烯、喷枪、马克笔和霓虹灯。To a certain extent, France-Lise is influenced by "neo-classical", but while retaining the classical figures of "sketch drawing", she uses very "contemporary" materials such as acrylic, airbrushes, markers, and neon lights at the same time.
「展览现场」France-Lise McGurn / 弗兰丝-利斯·麦古恩, In Emotia, Tramway, Glasgow, 2020在我们的记忆中，一个凝视着你或一个陷入沉思的人大概是一个什么样子，你就会惊奇地在France-Lise的画中找到——“哦！就是她了！就是这个样子！” 。在城市化的快速进程中，France-Lise深深感觉到人与人之间的陌生感，以及现代人情绪的隐藏和消失，正因如此，她希望人们可以在日常生活的空间中，通过真实看到和触及得到的图像感受到共鸣，唤起与生俱来的情绪和暂别已久的记忆。
In such a rapid changing era of urbanization, France-Lise deeply feels the interpersonal alienation, and ours hiding of emotions. She hopes that people can see and touch our true feelings long-awaited memories in the daily life.Claustra Cardia, 2019, Oil and acrylic paint on canvas, 120 x 120 cm艺术确实因为具有这种 “共鸣” 力量，一直以来都在影响并改变着人们的生活和思想。你会在看到《呐喊》时惊觉恐惧，也就不会在看到《向日葵》浓烈的燃烧般的金黄色花瓣时无动于衷。亲身进入France-Lise的展厅或点开展览现场图片仔细观看时，由眼前各种人物姿态和神情和充满整个物理空间的彩色线条便会引起各种情绪的浮现：轻快、自由、放空、沉思、失落、等待……这些客体感知觉会从画面人物上不知不觉转移到自己身上成为主观感受 (共情)，不经意间观众会发现此时此刻的自己已然感受到了艺术带来的力量并在这一刻深深的重新拾回归属感。Art always have the power to influence and change people's lives and thoughts. One would be horrified when seeing The Shout, and would be touched when seeing the intense burning golden color of Sunflower. Emotions emerge from the postures and expressions on paitings when audience entering France-Lise's showroom in person, or looking at the exhibition shoots. The feeling of lost and waiting will be transferred from the characters on the canvas to the viewers, and they will eventually find arts providing the powerful feeling of resonance, belonging and energy.Lots of Love, 2019, Oil, acrylic and spray on canvas, 220 x 180 x 4.5 cm近年来，绘画艺术正由上世纪末本世纪初以来的各种“抽象”风格再次归回“具象”，人物绘画 (figurative painting) 再现文艺复兴时期的古典美。但不同以往的是，新时期的绘画更注重材料上的综合运用、去繁就简依然保持“抽象”时期的精髓；布展方式也呈现多样性 (如Site-specific/特定场域策展) ，冲破了传统美术馆或画廊“white cube/白立方”式经典空间内展览；艺术家们更关注当下现实的主题、更多的转向画面外/室外/主流话题外等去探索，如黑人艺术和女性艺术的流行兴起。从机构和个人收藏的角度来看，新生代艺术家的定义也正从战后当代慢慢往后延伸至更多80/90后年青艺术家，这批艺术家和他们的作品也正逐渐进入舞台中心。
Painting is returning from various "abstract" to "representation" since the end of the last century and the beginning of the 21st century. Figurative painting reproduces the classical beauty of the Renaissance. But unlike in the past, painting in the new period pays more attention to the mix-use of materials, while keeps the essence of the "abstract" style; the curatorial shows more diversity (such as site-specific / site-specific curation), which breaks through the "white cube" exhibiting approach in traditional art museums or galleries; it pays more attention to the theme of the current reality, and focus more on off-screen / off-site / subculture topics, such as black art and female art, etc. The definition of the new generation of artists is slowly extending from post-war contemporary artist to more young artists in the 80s and 90s.
「展览现场」Collapsing New People, Stairwell Commission, Tate St Ives, UK, 2017
延伸阅读：《Purcussia》布展幕后 - Simon Lee Gallery (点击原文链接跳转)