月球与刀第六章 | 米兰-北京2020特别项目
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第六章文字部分由艺术家詹贾科莫· 罗塞蒂 (现生活工作于纽约,生于1989年) ( Instagram: @_ggr_89_ )选取，他从一篇有关画家曼奇尼（Mancini）的评论文章中摘录，曼奇尼是一位距今900年前的意大利画家，也是詹贾科莫从艺之路和研究的基础。
曼奇尼（Mancini）大约十年前移居罗马，尽管他很少再画街头孩子们，但他那些受委托创作的成年人肖像仍然保留着同样令人担忧的脆弱性和凌乱的环境。在罗马，他完善了他古怪的格线或格栅绘画技术，这在后来的许多画作中都留下了纵横交错的纹格。
这些纹格在他从1894年起创作的全身像油画《潘塔莱奥尼夫人》中尤为明显。画中温柔又精干的女仆站在简易的金色窗帘前，一些高大的家中盆栽植物被窗帘遮挡了一部分。在弗兰克·斯特拉（Frank Stella）早期的《黑色绘画》之一中，她黑色礼服上的纹格可能更恰切、更舒服。
格纹的绘制过程是将距离相同的线串布置在相同尺寸的画框上，然后并排放置：一个框架在保姆前，另一框架在画布上。爱尔兰戏剧家格雷戈里夫人（Augusta Gregory）于1907年在都柏林为曼奇尼做模特，她描述了艺术家创作的过程：先将目光聚焦在脸上某一部分，接着尽可能多地向后倒退，然后再向着她加速前进，其笔刷像一把剑。
“我需要勇气才能坐住不动。” 她写道，“但是拿着画笔的手总是在最后一刻向画布倾斜，在适当的位置上，在其线之间，颜料被涂上，然后开始改变主意。” 在整个过程的大部分时间里，曼奇尼可能会自言自语，如果情况不妙，还会咒骂自己的名字。
The selection has been chosen by Giangiacomo Rossetti (lives and works in NY,1989, Instagram: @_ggr_89_ ). He chose an extract from a critical essay about Mancini, a painter of early 900, he was fundamental for Giangiacomo artistic path and research.
Mancini had moved to Rome about a decade earlier, and though he rarely painted street urchins again, his commissioned portraits of adults retained the same slightly worried vulnerability and the disheveled settings. In Rome he perfected his eccentric graticola, or grille, painting technique, which left crisscrossing or parallel striations in the impastos of many of his later paintings.
These striations are especially apparent in his full-length portrait of Signora Pantaleoni from 1894, which shows a gentle but efficient-looking matron standing in front of an improvised drape of gold that partly obscures some tall household plants. The striations across her black gown might be more at home in one of Frank Stella’s earliest Black Paintings.
The graticola process involved identical arrangements of thread strung on identical frames that were then placed side by side: one frame in front of the sitter, the other on the canvas. The Irish dramatist Augusta Gregory, who sat for Mancini in Dublin in 1907, described the way the artist would fix his gaze on some part of her face, back up as much as possible and then advance toward her, gathering speed, his paintbrush outstretched like a sword.
“I needed courage to sit still,” she wrote. “But the hand holding the brush always swerved at the last moment to the canvas, and there in its appropriate place, between its threads, the paint would be laid on, and the retreat would begin.” During most of this process Mancini would probably be talking to himself, cursing his name if things were going badly.
达里奥·古琦欧，摄影小说/静物
Dario Guccio, Photo novel / Still life
詹贾科莫· 罗塞蒂摄影作品
Works by Giangiacomo Rossetti
达里奥·古奇欧，生于1988年，目前生活工作于米兰。他举办的个展包括：达里奥·古奇欧，金杜艺术中心，北京，2020（即将开始）；干洗日历，开采计划，香港（2019）；平民箱，图卢兹岛，费德里科·瓦瓦索里画廊，米兰（2018）；1-0-2，由达里奥·古奇欧和戴维·斯图基联合呈现的欧金尼奥·巴比耶里，阿曼达，米兰（2017）；飞机上的公投，由安德里亚·克莱奥帕特里亚主演，费德里科·瓦瓦索里画廊，米兰（2016）；达里奥·古奇欧，东屋，纽约 （2016）；锤子，口香糖，逃避，破坏，费德里科·瓦瓦索里画廊，米兰（2015）；第四届重测，希腊（2013）；小东西，由米歇尔·达奥里齐奥策展，加斯科内德，米兰（2013）；群展包括：夏日展，卡斯蒂廖尼美术学院，米兰（2019）；我拥有白昼月和夜之日，WallRiss，弗里堡（2019）；嘿，您！，第十六届艺术四年展，罗马宫，罗马（2016）；破解，东屋，纽约（2015）等。
Dario Guccio (b.1988), currently lives and works in Milan. His solo exhibitions include "Dario Guccio", KWM artcenter, Beijing, 2020 (forthcoming); "Dry clean Calendar", Mine Project, Hong Kong, 2019; "Urnas plebeyas, túmulos reales", Galleria Federico Vavassori, Milan, 2018; "1-0-2", Eugenio Barbieri presented by Dario Guccio and Davide Stucchi, Armada, Milan, 2017; "Referendum sull’aeroplano", feat. Andrea Cleopatria, Galleria Federico Vavassori, Milan, 2016; "Dario Guccio", Room East, New York, 2016; "Hammer, Chewing Gum, Evasion, Destruction", Galleria Federico Vavassori, Milan, 2015; "ReMap4", Athens, 2013; "Thingies", curated by Michele d’ Aurizio, Gasconade, Milan, 2013; His group exhibitions include: "Summer Show", Castiglioni Fine Arts, Milan, 2019; " I got the Moon in the Morning and the Sun at Night", WallRiss, Fribourg, 2019; "Ehi, voi!", XVI Quadriennale d’Arte, Palazzo delle Esposizioni, Roma, 2016; "The Crack Up", Room East, New York, 2015,etc.
展览现场图，破解，2015，东屋，纽约
Installation view of The Crack Up, 2015, Room East, New York
展览现场图，平民箱，图卢兹岛，2018，费德里科·瓦瓦索里画廊，米兰
Installation view of Urnas plebeyas, tumulos reales, 2018, Galleria Federico Vavassori, Milan
詹贾科莫· 罗塞蒂，1989年生于米兰。他在布拉雷美术学院学习并在2019年毕业于巴塞尔昆斯特学院。他曾举办的个展包括：神秘深渊，河畔画廊，柏林（2018）；克里斯，费德里科·瓦瓦索里画廊，米兰（2017）；贝拉明，温暖画廊，圣保罗（2016）。他的作品曾在群展展出，例如格林·纳夫塔利画廊，纽约（2019）；夜幕降临，Mendes Wood DM画廊，布鲁塞尔（2018）；在不安和锤子之间，费德里科·瓦瓦索里画廊，米兰（2018）；罗塞蒂近期的艺术项目包括：我早上有月亮，晚上有太阳，WallRiss艺术中心，弗里堡（2019）以及2019年在Mendes Wood DM画廊举办的展览阿玛多·卢西亚诺·洛伦扎托。
Giangiacomo Rossetti was born in Milan in 1989. He attended the Accademia di Belle Arti di Brera in Milan and in 2019 graduated from Die Institut Kunst FHNW in Basel. His solo exhibitions include DEEPSTARIA ENIGMATICA, Riverside, Bern (2018), KRIS, Federico Vavassori, Milan (2017) and Bellarmina, Warm, São Paulo (2016). His work has been featured in several group exhibitions such as Techniques of the Observer at Greene Naftali Gallery, New York (2019); Nightfall at Mendes Wood DM, Brussels (2018); Tra l'inquietudine e il Martello at Federico Vavassori, Milan (2018). Rossetti’s recent projects include I got the Moon in the Morning and the Sun at Night at WallRiss, Fribourg (2019) as well as the exhibition Amadeo Luciano Lorenzato at Mendes Wood DM, Brussels (2019).
展览现场图，人骨，Mendes Wood DM画廊，布鲁塞尔，2019
Installation views of Bones of the Men, Mendes Wood DM, Brussels, 2019
展览现场图，神秘深渊，河畔画廊，柏林，2019
Installation views of DEEPSTARIA ENIGMATICA, Riverside, Berlin, 2018
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