Details of Interior No.10
材质：亚麻布面油彩，树脂
Medium: Alkyd resin, oil and pigments on linen
尺寸 Size: 60 x 61 cm
2018
Robert Bosisio Solo ExhibitionNO.202, 2nd Floor, Sea World Culture & Arts Center, Shenzhen
* For English version please refer to the end of the postThe stillness in Bosisio’s paintings这是一个人类因视觉信息量过大，几乎达到“视盲”程度而瘫痪的时代，寻找一些“静止”的片刻似乎是使特定时刻“可见”和“可感知”的好办法。而绘画的二维物理性，相较于雕塑、装置或其他媒介来说，本身就鼓励一种静止，一段远离我们物质世界的观看时间，并将观众推入另一个现实，即观众必须留出一定的时间和注意力来观看这个平面，否则可能会错过作品潜含的内容。观看罗伯特·博西西奥关于空间的绘画，就会产生一种神奇的静止感。相较于90年代中后期画面中锐利的轮廓和具体的事物，近年“室内系列”的作品则将一切可辨析的事物删减至最简，只剩门窗的线条、色彩和光线；氛围也从过去强烈的对立感过渡成为一种中性的神秘感。油彩、坦培拉、灰、沙、蜡、⽯膏等材料的使用，创造出赭石、熟褐、普鲁士蓝、杏橙、柠檬黄、草绿、紫丁粉、煤黑、月白等等微妙的色彩肌理，而艺术家又精湛巧妙地设置了一些“极亮点”，使观者的中心视角由这个光点或光柱延伸开来，让不同形状的轮廓在其他形状和线条中找到延续，从而不断引导观者的视线。Interior1995, 75 x 90 cm, Oil and egg tempera on canvas
220309
材质：亚麻布面油彩，树脂
Medium: Alkyd resin, oil and pigments on linen
尺寸 Size: 72.5 x 80.5 cm
2022
而意大利的阳光又好像有某种魔力，由于其独特的大气清晰度，光线鲜少会被扩散干扰，受此影响，许多意大利艺术家对于光的处理都别出心裁。博西西奥巧妙地在作品里平衡了柔和的色彩和微妙的色调，让这些光线显得谦逊而柔和，甚至带有一丝毛绒绒的质感，它们有时藏在门隙之间，仿佛人一走动就会被惊扰到；又好像有着生命，总在人看不见的时候不断逃逸和遁走，而当你转头盯着它，所有光线和阴影又都灵巧立定下来，只不过透过门框和窗檐的线条在视网膜上产生波动和震颤。许多宗教建筑的穹顶内，光线透过玫瑰窗后停滞并“悬挂”在高处，它们仿佛被赋予了内涵，变得神圣。博西西奥的作品也能予人类似的效果，即使这幅画再小不过，画中的光微弱至极，但当你看向它的时候，依旧会产生一种被笼罩感。就像教堂中神圣的光实则来自于丁达尔效应，博西西奥画中的灵晕，则恰好体现了艺术家用色之巧妙。
圣家堂顶部的光晕，摄于巴塞罗那
photo: ian
有些画中还明显有直线或网格的存在。这些线条由或轻巧或浓重的颜料描绘而成，当你靠近的时候，它们便将画面切分成无数不明意义的微小色块，渐渐让人无法辨认绘画的母题，只能谨慎地审视色彩明暗间的深度反应。反之，当你远离画作的时候，线条就逐渐模糊直至消失，于是在你的视野里，这幅画重又变得整体和明晰。在反复走进走远的过程里，这幅画在视网膜上的投影仿佛一张张静帧在切换，每一帧都安静且极具表现力。有人可能会问：“为什么一个作品描绘如此普通的场景，会不断产生让人继续观看的吸引力？”博西西奥的室内空间作品让观者体验到的并非精神分化的当下，而是一个可见和可感知的瞬间，所以它们有令人安静和温柔的能力。尽管我们的感官提供的信息已经足够丰富，但有些事物总会激发我们产生更广泛和更深刻的体验，比如博西西奥画中的光影和未知，它们的真切与安静会让我们产生一种创造性反应，这种反应在片刻间阻止了外部世界的运动，同时为我们创造进入这种沉思状态的通道。
Interior No.4
材质：木板纸本综合材料
Medium: Mixed media on paper, laminated on wood panel
尺寸 Size: 42 x 46 cm
2008
运动和静止难以被孤立讨论，对静止的迷恋可能源于它能够在运动中使不可见的东西变得可见。通过在不同的视觉清晰度切换中捕捉瞬间，艺术家将本应是过去或未来的事件带到了现在。然而，这个节点并不是真实生活中流动的现在，而是我们想象过去和未来时的“静止”现在。因此，博西西奥作品所反映的静止，虽是由静止的图像和物体构成的，但它们在观者脑海中不可避免地建构出一种流动。关于艺术史中的运动与静止，从过去到现在也有诸多演化。19世纪奉行描绘一种静止的姿势，以求给人留下人物永远停留在那个姿势的印象。当时的人们认为艺术应该避免固定时刻的特殊性，以寻求一种完美不变的美，这种美是处于时间流逝之外的。因此，许多画里的人物表现出了一种稳定而永恒的理想美，反映为尽可能少的运动状态。而由于现代思想的发展，19世纪后期艺坛对人体和运动的描绘更加自然。例如，罗丹拒绝以古典学院的风格描绘身体，并试图在日常中捕捉运动中的身体，他相信“雕塑中的生命表达需要运动的暗示，人们必须感受到前后的运动或瞬间，它们代表了时间的流逝，而不是凝固的瞬间。”在这些影响下，立体派进一步继承了罗丹关于运动或时刻的思想。而今天，技术和视觉设计的发展通过3D渲染和VR等虚拟现实环境，进一步推动了人类感知的极限。在视觉艺术领域，这些技术被用来创造想象的环境，将观众带到真实和幻想之间的超现实领域。左：19世纪Canova的雕塑作品，拥有一种超越时空的静止美中：薄丘尼“Unique Forms of Continuity in Space(1913)”右：莫兰迪“Natura morta(1952)”而博西西奥今日的绘画又把我们拉回到许久以前安静和几乎静止的状态。在描绘人物的作品里，艺术家进一步强化了模糊效果的使用，你能发现有些形象似曾相识，有的像弗兰德斯文艺复兴时期的人物，有的像民国时期的上海女郎，有的又仅剩身体的局部或一些颇具体积感的线条。无论是哪种形象，都仿佛被一层薄纱遮住，纱布下的部分统统被定格，就好像所有的时间流逝都被封印住，在你凝视的同时又极富厚重感。相比“室内”系列，肖像绘画里的颜色被减到了最低限度，充满了古典绘画的气质，然而一种视觉失焦的效果却时时预示着一种“距离感”和一种普遍性。这些绘画的共通之处在于都存在着一种历史的反复，不是具体的事件内容，而是形式结构，就好像当记忆中的某种东西在危急时刻闪现的时候要去抓住它一样。Medium: Alkyd resin, oil and pigments on wood panel
展览下半部分现场
photo: Yuexi GUO
Body No.3
材质：亚麻布面油彩，树脂
Medium: Alkyd resin, oil and pigments on linen
尺寸 Size: 193 x 165 cm
2020/2022
贡布里希曾论证过，决定最适合给出整个叙事概念的时刻，一直是古典绘画中需要讨论的要点。因此，一个静止的画面可能是叙述的最佳时刻，博西西奥将自己的室内作品也视作“肖像画”，把肖像又当作“静物”来描绘，于是他攫取出了每一个人或空间最有潜力的时刻，他们看上去有一种静止和不透明的感觉，暗示着一种叙事，但又将其隐藏起来。穿插在展览中的古典屏风也辅助艺术家完成了这个极具张力的静止时刻。屏风在东方文化里常常出现：在中国古代的手卷绘画里，随着画面不断展开的过程，屏风的出现区分了观看单元，既展示又隐藏了某些内容，总是在吸引观者去探寻那些隐秘不见的事物。此次在博西西奥个展上，屏风的使用不断重新调整观众与画面的关系——确保一定的距离，防止人们靠得太近，并对观者和画面之间既联系又分离的程度进行确切衡量。画作里杰出的光影和微妙的笔触，在几步之隔的屏风边框映照之下，显得更加超然和宁静，仿佛超越了时间。
展览上半部分现场
photo: Yuexi GUO
博西西奥绘画中的静止，和此次展览试图呈现出的氛围，可能未必是一个完美的时刻，它只是像个邀请函：邀请你一起思考，一起漫步，甚至一起入眠；邀请你一起玩耍，争吵，治愈，一起燃烧。穿过画中的这扇门：我们可能会在这里、那里、或是任何地方。虽然这种静止可能是一种幻觉，但它让我们即使在很短的时间里也能专注于一个特定的时刻，并理解隐藏在其中的不同含义或审美可能性。The stillness in Bosisio’s paintingsOurs is an era in which human beings are paralysed by so much visual information that they end up being almost “blinded” by it. In such a context, seeking some moments of stillness could be a way most suited to make specific moments "visible" and "perceivable". The two-dimensional physicality of painting itself, compared to sculptures, installations or other three dimensional mediums, encourages a kind of stillness, a private viewing time removed from our physical world, and thus gently pushes the viewer into an alternate reality where a certain amount of time and attention must needs be dedicated to the specific act of viewing, otherwise the meaning so deeply embedded in the paintings might slip out of his reach.Watching Robert Bosisio's depictions of interior spaces instantly sparks in us a magical sense of stillness. After sharp contours and concrete objects in his 90s paintings, recent interiors tone everything that can be discerned down to the bare minimum, leaving only the lines, colours and lights. The sense of contrariety in the previous paintings thus followed by a neutral mystique. The use of different media such as oil painting, tempera, ash, sand, wax, and mortar, yields subtle shades of ochre, brown, Prussian blue, apricot orange, lemon yellow, light green, lilac, coal black, blueish white, and many other delicate hues and textures. While painting, Bosisio deftly disposes “luminous poles” on his canvas, so that the viewer's central perspective finds itself extended through these shafts of light. In this way, the contours of the individual shapes are prolonged and perpetuated in other shapes and lines, thus achieving an overall sense of unity.There must be something magical about Italian sunlight. Due to its unique atmospheric clarity, the light is rarely disrupted by the phenomenon of diffusion. This physical reality may well explain how many great Italian artists have come to treat light in the most ingenious ways. In this may also lie the answer to how Bosisio skilfully balances pastel tones and subtle hues in his works, making the lights in his canvases appear humble and subdued, occasionally to the point of seeming to be enveloped in a fluffy texture. These lights are sometimes hidden between thresholds, giving the impression of being easily unsettled by eventual passers-by; they seem to have life, always furtively moving and slipping away behind the viewer’s back. And as soon as one turns around to stare at them anew, all the lights and shadows nimbly settle into place once again. Through the lines of door frames and window eaves, they ripple and vibrate in our eyes. Under the domes of many religious architectures, where light is suspended from above through the rose windows, looking sacred and meaningful. Bosisio's works bring us a similar effect. Even if the painting is tiny, the light in the painting is so faint that when you look at it, it still creates a sense of being “under the dome”. Just as the sacred light in a church actually comes from Tyndall effect, the aura in Bosisio’s paintings reflects the artist's brilliant use of color.Some of Bosisio’s interiors are also marked by the presence of obvious lines or grids. When one moves closer, these lines will cut the picture into countless tiny and blurred blocks of pigment, gradually making it impossible for the viewer to recognise the motif, allowing one only to examine the lights and shades embedded in the colours. Conversely, as one slowly backs away from the canvas, the lines gradually blur until they disappear, causing the picture in the viewer’s eyes to become whole and clear again. In the process of repeatedly moving closer and backing away, the projection of the painting on the human retina happens in the form of a steady succession of static frames, each of them quiet and expressive.One might ask: "How can a work depicting such an unremarkable scene still succeed in attracting people’s attention ?"What Bosisio's interior spaces allow the viewer to experience is not a spiritually detached moment, but a visible and perceptible point in time. Such moments are thus endowed with the ability to be tranquil and gentle. Although the information provided by our senses is rich enough, some things always inspire us to gain a broader and deeper understanding of certain elements, such as the light, the shadow, and the unknown in Bosisio's paintings. The vividness and stillness of his canvases can spark in us some kind of creative reaction that stops the movement of the outside world for a fraction of time, meanwhile opening a pathway for us to enter this state of peaceful contemplation.When talking about stillness, movement is one inevitable aspect that must needs be addressed. And the fascination with stillness stems from its ability to make the invisible visible through motion. By capturing moments in different transitions of visual clarity, the artist brings events that should be in the past or future, into the present. However, this “present” is not the flowing present of real life, but the "static" present of our imagined past and future. Thus, although the stillness expressed in Bosisio's work is composed of still images and objects, these inevitably generate an energetic flow in the viewer's mind.With regard to movement and stillness in art history, these have always been marked by many evolutions. 19th-century painters were prone to depicting their models in static poses, giving the impression that their figure would remain in that pose forever. People at the time believed that art should avoid the peculiarities of a given moment, but should instead devote its efforts to seeking a perfect and unchanging beauty fixed beyond the flux of time. As a result, the figures in many paintings and sculptures of that era exude a stable and timeless ideal of beauty, reflected in their complete, or almost complete, absence of movement. Following the advent and subsequent development of modern thought, the depiction of the human body and its movements became more natural towards the late 19th century. Rodin, for example, refused to render the body in the academic style of his times, and tried instead to capture it in motion in its everyday activities. He "believed that the expression of life in sculpture requires a hint of movement, that one must feel the preceding and succeeding movements or moments, and that these represent the passage of time rather than a frozen instant”. Under these influences, cubism further inherited Rodin's ideas of movement or moment, while today, advances in technology and visual design have pushed the limits of human perception even further by incorporating 3D rendering and VR. In the field of visual arts, these techniques are used to create imaginary environments that transport viewers into a surreal realm situated somewhere between reality and fantasy.Today, Robert Bosisio's paintings bring us back to the quiet stillness of times long gone by. In his portraits, the artist relies more heavily on the use of sfumato. Some of these images might appear familiar to the viewer : some may evoke figures from the Flemish Renaissance, others may remind him of Shanghai ladies from the Republican period, while others still depict only details or specific lines of the human body. Regardless of its subject matter, each image appears as if swathed in diaphanous gauze — all elements under the thin transparent veil are frozen, as if the relentless trickling of the sands of time had suddenly come to a halt. Compared to his series of interiors, the chromatic scale in Robert Bosisio’s portraits has been reduced to a strict minimum and is imbued with the temperament of classical paintings. However, the unique out-of-focus effect of these canvases always radiates a particular sense of distance and universality. What these works have in common is a kind of historical repetition, not of a specific event, but of formal structure, and the final effect created upon the viewer feels like that particular moment when one promptly grasps a distant memory as it suddenly flashes by.Ernst H. Gombrich has argued that one major concern in classical painting has been to determine which particular moment could be best suited to convey to the viewer the idea of a whole narrative. In this sense, the moment of stillness may be considered as best expressing the idea of narration because it represents the moment of possibility, and thus of expectation. Robert Bosisio regards his interiors also as portraits, and thus successfully captures the most potential moments of each figure or space : all seem to be informed by a sense of stillness and opacity, suggesting and concealing a narrative, all at the same time.The old folding screens that have been disposed in the halls hosting the present exhibition also assist the artist in his endeavours to achieve this moment of stillness with strong tension. Screens hold an important place in Oriental culture: in ancient Chinese scroll paintings, with the continuous unfolding of the picture, the appearance of screens allows to establish a distinction between different graphic elements, making it at the same time possible to reveal or hide certain parts of the painted surface, luring the viewer into exploring those concealed recesses. Within the present context, the use of screens also constantly readjusts the relationship between the viewer and the screen — ensuring a certain distance, preventing people from getting too close, and thus balancing the degree of separation that exists between both. The outstanding chiaroscuro effects and subtle brushstrokes that animate the painting are reflected by the frame of the screen a few steps away, causing them to appear more detached and serene, as if transcending time.The stillness in Bosisio's paintings and the quiet atmosphere that this exhibition is trying to convey may not necessarily constitute a perfect moment per se, but ought instead to be understood like an invitation — an invitation to meditate, walk, and even fall asleep together, an invitation to play, quarrel, heal, and burn together. The door in this picture could lead us anywhere, here, there, or elsewhere. While this stillness may in itself be an illusion, it allows us to focus on one particular moment, even if only for a short time, and to understand the different meanings or aesthetic possibilities that lie within.Article by ian
Proofread/ Dr. Claudio D. Lucchi (易柏霖)
1963年出生于意大利特罗德纳，1988年毕业于维也纳应用艺术大学，师从维也纳行动主义代表人物阿道夫·弗罗纳（Adolf Frohner）教授，现生活与工作于意大利特罗德纳和德国柏林。艺术家的绘画作品介于抽象和具象之间，其展现的并非一个具体存在的个体，而是一个无名幻象的描述。他笔下的肖像作品神秘且失焦，兼具冷静的视角与模糊的轮廓；空间作品中则着重光感的色彩和极简的几何形态所构成的空间结构，作品中一望无际的地平线引发观者对远方意向追寻，呈现出一种超越现实时间和真实存在的沉寂静止与不可见感知。博西西奥的作品曾数次参与国际重要艺术展览，例如54届威尼斯双年展（La Biennale di Venezia, 2011），英国肖像大赛（BP Portrait Award, 2020）等。其作品也被多家艺术机构以及私人藏家收藏，例如雨果·沃滕基金会（Hugo Voeten Foundation）等，广受赞誉的奥斯卡获奖电影导演维姆·文德斯（Wim Wenders）也是博西西奥在欧洲的重要藏家之一。“让我的画面保持简单、冷静与真实对我来说很重要。”博西西奥以严肃的方式捍卫绘画的正当性，以独立与恳切的视角探索了绘画的边界。Born in Trodena nel parco naturale, northern Italy, in 1963Graduated from the University of Applied Arts Vienna in 1988Taught by Professor Adolf Frohner(1934-2007), a representative of Viennese Actionism. He currently lives and works in Trodena nel parco naturale, Italy and Berlin, Germany. His paintings lie between abstraction and figurativeness; they do not depict concrete individual objects, but descriptions of an anonymous illusion. His portrait paintings are mysterious and out of focus. They also have a calm perspective and blurry contour. His Interior series has high-saturated warm hues and spatial structure made by extremely simple geometric shapes. The unreachable horizon may stimulate the viewer to pursue and explore the distant and endless space that lies beyond, showing a sense of silence and invisibility that transcends both actual time and real existence.Robert Bosisio's paintings have been exhibited in many critical international exhibitions, such as the 54th International Art Biennale Exhibition Venice and the 2020 British Portrait Competition. They are also collected by art institutions and personal collectors, such as the Hugo Voeten Foundation and Oscar-awarded film director Wim Wenders, who is also one of the most important European collectors of Robert Bosisio."What matters to me is that my paintings remain simple, quiet and objective."("Mir ist es wichtig, daß meine Bilder einfach, ruhig und sachlich bleiben.") Robert Bosisio seriously defends the legitimacy of painting, exploring its boundaries from an independent and earnest perspective.
万一空间是由三位90后艺术从业者在深圳创立的艺术空间。其诞生于疫情席卷全球的2020年，在后疫情时代涌现对艺术与生命的全新思考。空间致力于消解当代与古代的边界，融合美学研究逻辑下的现当代与古代艺术，构建一个不同国家、时期和形式的艺术在同一语境下共容的场域。W.ONE SPACE is an art gallery founded in Shenzhen by three Generation Y art practitioners. It was established in 2020 during the outbreak of the COVID-19 pandemic. New perspectives on art and life have emerged in this post-pandemic era. W.ONE SPACE aims to melt the boundaries between present, future and the past by mixing contemporary and ancient art under the logic of aesthetic research, thus bringing together arts of different countries, different periods and different forms to interact and express in unity as ONE.