新展预告 | 「在你的手心里掌握无限」— 阿德莉娅•桑托莉个展

「在你的手心里掌握无限」

阿德莉娅·桑托莉个展  

Hold Infinity in the Palm of Your Hand

Adria Sartore Solo Exhibition

VIP预览 Preview

2022.11.22（周二 Tue.）

展期 Duration

11/22/2022-1/14/2023

地址 Venue

深圳市南山区海上世界文化艺术中心2层202

NO.202, 2nd Floor, Sea World Culture & Arts Center, Shenzhen

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* Please scroll down for the English version

万一空间欣然呈献展览“在你的手心里掌握无限”，此次展览将展出意大利艺术家阿德莉娅·桑托莉（Adria Sartore）近年创作的微型油画作品与一众以掌心为尺度的古代文房及各类小中见大的掌玩器物，共同在方寸之间生发灵性激荡。

Angels (Inspired by Rubens) With Strawberry

材质：木板油画

Medium: Oil on Wood

尺寸 Size：10 x 12 cm

2020

⻘玉鹅型镇

长 9cm

“在你的手心里掌握无限”也译为“无限掌中置” （Hold Infinity in the Palm of Your Hand），其取自诗人威廉布莱克（William Blake，1757-1827）《天真的预言》（Auguries of Innocence）一诗，其中描述的渺小与宏大，微观世界与宏观世界，与东方一砂一世界见微知著的探讨异曲同工。东方有女娲以泥土仿照自己抟土造人，西方有上帝用泥土塑造亚当、夏娃，在世界范围的神话故事里，都有人类在“创造之手”下诞生的说法。

Girl with Box

材质：木板油画

Medium: Oil on Wood

尺寸 Size：10 x 12 cm

2022

在漫长的历史语境中，洞穴壁画中的岩画手印在许多史前考古过程中均有发现，这些图案隐喻着深刻内涵，有着原始记事，神圣图形，隐喻观念，图腾崇拜等种种待商榷的神秘功能。从这些手印中，我们已然能看出当时的人类对表达和输出有着原始的冲动，这些手掌印也记录下人类艺术起源的雏形，古时人们小心翼翼地把手按在岩壁上，覆以原始颜料，留下了“我”的印记，即“我”存在的证据；而当文明逐步发展，人们对外物的认知需求越来越深刻，于是，人皆有之的“手”，便作为原始的度量衡开始发挥作用。

Rose with Monkey

材质：木板油画

Medium: Oil on Wood

尺寸 Size：12 x 8 cm

2021

最初人们在生产实践活动中，依靠自身的器官来判别事物的数和量、长和短、大和小，而后逐渐发展到用人体的某一部位与外界进行比较、测量，从古埃及的雕塑家到中国的百姓均采取手作为测量的工具， “布手知尺”就是在这样的背景下应运而生。古今虚实，手作为劳动和触觉器官，在帮助人类创造和丈量世界的同时，持续传达着人的情感，而其创造之物，则反映了个人心里的独特图景。

Rose with Monkey（detail）

阿德莉娅的父亲曾从事古董生意多年，小时候她和父亲一起进行了许多漫长而神秘的漫游。父亲让阿德莉娅发现了老城的神秘之处，他们曾走到教堂隐秘的一面，也曾一起踏遍博物馆的每一寸空间。父亲教会她品味过去，品味美，品味艺术辉煌，以及黑暗之美，这些都基于一种对过去的精神连接。

Angels (Inspired by Rubens) With Strawberry

材质：木板油画

Medium: Oil on Wood

尺寸 Size：10 x 12 cm

2020

因此，此次展出的作品除了熟悉的古典故事题材以外，还有充满童趣的、微型的花鸟鱼虫世界，透过静物绘画展露着构造和本质。尤为惊喜的是，艺术家在新作中纳入了部分中国古董器物的元素，那些置身其中的小小人物在古董中穿梭、在花丛和海底畅游，毫无保留地进行着探索，标志着艺术家与世界的关联。阿德莉娅总是把绘画当作是寻求灵药和治愈心灵之旅，通过绘画，重现童年记忆里那些令人不安的感受。她把创作主题看作是魔术师般，以此转化未知的感觉，就像窗户、镜子那样，绘画能够让人们进入到内心深处的一个隐蔽空间。

Girl with Flowers (Trittico parte 1)

Fiori (Trittico parte 2)

Fiori (Trittico parte 3)

材质：木板油画

Medium: Oil on Wood

尺寸 Size：12 x 10 cm x 3

2022

借由阿德莉娅画中的东方元素，我们再来揭开另一个“小”世界。在过去，古人以手掌为度量，“掌上明珠”一词词义显而易见，同时也有特殊的女性主义色彩，更显其珍爱之意。“掌玩”是过去上至皇室下至士人均爱不释手的器物小品，如米芾“袖石”的宋人风尚，明人《核舟记》中精微雕刻在方寸的毫发毕现，还有在清宫皇室档案流传的特殊名词“百什件”。“百什件”，也称“集琼藻” “瑾瑜匣”等，是皇帝的玩具箱，其中珍玩内容既多且杂，皆贮藏于一外表四四方方体积不大的箱匣内，连出行也要随身另行携带，变成一种在万机余暇中也要随玩随赏的生活方式。

天球合璧 百什件，清，乾隆

台北故宫博物院藏

此次展览中的“小玩意”，均为盈盈一握的尺寸，种类纷杂，材质多样，古代器物横跨春山秋水玉器，罗马青铜，鎏金造像，象生瓷杂，文玩清供等等，大则盈尺，小者不足方寸，均呈现一种小中见大，小器大作之势。比兴的花鸟动物将内容托物言志，缘物寄情；书案文玩尽显文人清雅与生活意趣；宗教器物与造像细致刻画入微，须弥纳芥，毫发毕现背后是信仰的力量。林林总总共构掌中乾坤，达至方寸之间看世界，螺蛳壳里做道场的器物遐想。

铜鎏金阿难像

高 10cm

来源：

1. May Fook Wah 家族

2. Stephen Junkunc III 史蒂芬·琼肯三世 芝加哥

3. Eskenazi 伦敦

展览：Tang: ceramics, metalwork and sculpture, Eskenazi, 2021年10月21日-11月6日 

出版：《Tang: ceramics, metalwork and sculpture》Eskenazi Lot 7号，P70

「

To see a World in a Grain of Sand

And a Heaven in a Wild Flower

Hold Infinity in the Palm of Your Hand

And Eternity in an hour

“一沙一世界，一花一天堂。

无限掌中置，刹那成永恒。”

—— William Blake, Auguries of Innocence

威廉·布莱克《天真的预言》（徐志摩译）

」

幼时的我们对世界充满着憧憬，虽然当时尚未习得语言，于是对物的好奇只能通过行动来表达：触摸、抓取、放下、收集。事物是否有害，这第一层的认知是通过触摸产生的；当确认事物无害后，我们便会把身边的可抓取物都拿起来把玩。通过了解、发现、解谜和拥有手上的微小之物，我们一步步建立起了对世界的认知，也因而对可掌握之物产生拥有感，比如我们更容易拥有花朵和小石子，而非一棵大树或一座高山。然而宏大的概念不一定总需要宏大的叙事，如果我们将知觉的门洗涤至净，万物便会以无限的原貌出现在我们眼前。

玉鹿

高 4.5cm

来源：

1. Galaxie Art & Gift Co. (B. K. Wong), Hong Kong, 9th June 1989

2. Florence (1920-2018) and Herbert (1917-2016) Irving, 欧云伉俪旧藏 编号92 

3. 纽约大都会艺术博物馆旧藏

4. 纽约苏富比2019年9月14日“大都会博物馆珍藏”专场，Lot 1347

艺术家德朗（Andre Derain，1880-1954）曾意味深长地说“从物到画之间存在着一条秘密的通道，我们是这遗失秘密的寻找者。”于是，当我们凝神去看阿德莉娅一手可握的微型油画，或把玩这手心的古物，从小小的作品中能看到五彩斑斓的色彩，绝妙的故事，精绝的刻画与一个无限的世界。艺术家赋予画面中的人物以记忆、情绪和魔术般未知的强烈感官色彩，让我们不禁回到孩童时的状态，对这个世界再次产生好奇、探索、收获抑或失落不安的种种情绪。同样的，古物的微观世界不但会告诉你历史岁月的沧桑，有时还会给你展现出掌中观相的庞大世界与怀古遐往。两者互文，经东西方视角下不同解读的图像，与漂浮着的无限思绪，均盈握于区区手掌。

Still life with Angels and Strawberries

材质：木板油画

Medium: Oil on Wood

尺寸 Size：12 x 10 cm x 3

2022

定窑贴塑佛像灯笼瓶 

高 7 cm，直径 5.5 cm

来源:

1. 思源堂，香港

2. 巴黎苏富比2018年12月11日“亚洲艺术品”专场，Lot 65

鸣谢

Suzy

海报设计

周嘉慧

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Hold Infinity in the Palm of Your Hand

Adria Sartore Solo Exhibition

W.ONE SPACE is pleased to present the exhibition "Hold Infinity in the Palm of Your Hand", this exhibition will introduce the miniature oil paintings created by Italian artist Adria Sartore in recent years and a group of antiquities on the scale of a hand. All kinds of hand-held utensils and paintings together generate spiritual agitation despite their compact sizes.

"Hold Infinity in the Palm of Your Hand" is taken from the poet William Blake (1757-1827) in his poem "Auguries of Innocence", which describes the smallness and the grandeur, the microscopic world and the macroscopic world, which are similar to the discussion in the Eastern saying “To see a world in a grain of sand”. In myths and stories around the world, there are sayings that human beings were born under the "hand of the Creator". In the long historical context, the petroglyphs in cave paintings have been found in many prehistoric archaeological processes. These patterns are metaphors with profound connotations, and conjectured to have various mysterious functions such as original memoirs, sacred figures, metaphorical concepts, totem worship and so on. From these handprints, we can already see that human beings at that time had primitive impulses for expression. These handprints also recorded the prototype of the origin of human art. In ancient times, people carefully pressed their hands on the walls and covered them with primitive pigments, leaving the imprint of "I", that is, the evidence of the existence of human beings. As civilization gradually develops, people's need for cognition of objects becomes more and more profound, so the "hand" that everyone has become the original tool to measure, from the Egyptian sculptor to the ancient Chinese all use hands as the measure tool. In the beginning, people used their own physical parts to judge the number and quantity, length and shortness and the scale of things, even the outside world. In the past and present, the hands are used as labor and tactile organs. While helping human beings to create and measure the world, they continue to convey human emotions.

Artist Adria Sartore was born in Genova, Italy in 1969. Sartore owns an aesthetics degree in philosophical art. During her college time, she became interested in the history of Theatre of Ancient Greece, as well as Greek Mythology. She was drawn into the myths, which are stories about people, gods, and demigods. Most of those stories are written from an anthropological perspective, which focus on searching inward our fundamental human nature. Stories that seem to be absurd today containing moral teachings, exploration of desires, love and war, conflict and disaster. However, those stories are also telling the diversity of beauty. It could be vital, incredible, mysterious and legendary. These images have provided countless inspirations for artists, and they are still constantly explored and interpreted till today. Italian traditional cultural heritages, myths and classical art have been written into Sartore’s genes. She is particularly fond of presenting emotions from her own life and visual memory on her palm-sized paintings. By using the medium of traditional oil painting on wood, Sartore constructs a new "mythical" scene from her own perspective. This is a combination of graphic explorations and symbolic concepts. The artist also gets inspirations from masters, such as Rubens, Hieronymus Bosch, Orazio Borgianni, François Boucher, Pontormo, Jacopo da, D.Veneziano and so forth. She is good at extracting characters and symbols, deconstructing and re-compositing so that she is able to change the relationship between people and things from the original myths. This re-creation enables the artist and the audiences break into an overly sanctified story, to fully experience a playful and humorous emotion. Beauty and the grotesque, praise and disgust, these contradictory emotions run across her works and bring a strong tension to the audiences. This unseen stress is the key that encourages Sartore keep going down for her artistic exploration.

Sartore’s father, who had been in the antiques business for many years, took her for many long and mysterious walks when she was a child. Her dad guided her to discover the mystery of the old city, Sartore says, they walked to the hidden sides of the churches and eye-touched every inch of the museum asides. Savoring the past, the beauty, the splendor of art, and the beauty of the dark, Sartore’s father taught her to find a spiritual connection to those things. Therefore, in addition to the familiar classical and figurative themes, this exhibition also presents her memories from the childhood, including images of flowers, birds, fishes and insects.

Surprisingly, Sartore has engaged some elements from Chinese antiques in her recent works. This time, the baby figures are living in their own universe, traveling through the antiques, swimming among the flowers and the seabed. They all explore like children, marking the artist's connection with the world. Sartore has always regarded painting as a journey to seek inward and a process of self-healing. To her, painting recreates those disturbing feelings from her childhood experiences. She regards the theme as a magician while she working. By doing so, she is able to transform the feeling of the unknown, just like the reflection from the glass or mirrors, so that the audience can enter the deep down hidden space in her heart created by herself.

With the oriental elements in Sartore’s paintings, we will reveal another "small" world in the East. In the past, the ancients used the palm of their hands as a measurement. "Pearl in the Palm" is an old Chinese sayingshowing something is cherishing, and it also has a special feminist color. "Palm play" is a small piece of utensil that people from the royal family to the scholar love to play with, such as Mi Fu's "sleeve stone" in the Song Dynasty, small carved sculptures recorded in "Hezhou Ji" in the Ming Dynasty, and the special term "Hundreds of Pieces" circulated in the royal archives of the Qing’s court. "Hundreds of Pieces", also known as "Jiqiongzao", "Jinyu Box", indicate the emperor's toy boxes. There were many treasures stored in a small square box. Even when the emperor travelled, he insisted to carry it, therefore it had become a way of life that someone would play and enjoy in the spare time. The "gadgets" in this exhibition are all in the size that anyone can easily grasp, with various types and materials. Ancient utensils spanning the jade wares, Roman bronzes, gilt statues, porcelains, literati’s objects, etc. Flowers, birds and animals convey their content to aspirations; the objects show the elegance and life of the literati; the religious objects and statues are meticulously depicted, and they are also sumptuous, representing strong power of faith. Those objects jointly construct the universe in the palm of one’s hand, and empower us to see the world from a square inch and gain the imagination of the Dojo of the snail shell.

To see a World in a Grain of Sand

And a Heaven in a Wild Flower

Hold Infinity in the Palm of Your Hand

And Eternity in an hour

—— William Blake, Auguries of Innocence

When we were young, we were full of longing for the world. Although we had not yet acquired language at that time, our curiosity about objects could only be expressed through actions: touching, grasping, putting down, and collecting. Whether a thing is harmful or not, the first level of cognition is always l generated through touching. Once we confirm that the thing is harmless, we will pick up and play with them. Through understanding, discovering, solving puzzles, and finally owning the tiny things in our hands, we gradually build up our understanding of the whole world. For example, we are more likely to possess flowers and pebbles, but unlikely a big tree or a mountain. However, grand concepts do not always require grand narratives. If we open the door of perception, everything will appear in front of us in infinite original form.The artist Andre Derain (1880-1954) once said meaningfully, "There is a secret passage from the object to the painting, and we are the seekers of the lost secret." When we focus on Sartore’s miniature oil paintings, or the antiques in the palm of our hands, we can see colors, wonderful stories, exquisite depictions and an infinite world from the small things. The artist endows the characters in the images with strong sensual colors of memory, emotion and the magical unknown, making us return to the state of childhood, and once again have various emotions of curiosity, exploration, gain or loss and anxiety about the world. In the same way, the microscopic world of antiquities will not only tell you the vicissitudes of the past years, but also show you a huge world and nostalgic stories. The intertextuality between the two, the images interpreted differently from the perspectives of the East and the West, and the floating infinite thoughts, are all held in the palm of our hands.

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阿德莉娅·桑托莉

Adria Sartore

1969年生于意大利热那亚，1990年至1997年先后毕业于布蕾亚艺术学院、热那亚大学与巴黎索邦大学，拥有美学哲学博士学位。2004年她的作品被选入英国肖像大赛奖（BP Portrait Award），并被邀请参展于伦敦国家肖像画廊展。

在学生时代，阿德莉娅潜心探究哲学艺术并获得美学学位，在此期间接触到了大量希腊戏剧历史和希腊神话。这些都是美丽的、具有生命力的、不可思议的、神秘而传奇的故事，它们在艺术史上作为经典图像范式为艺术家提供了无数灵感，且不断被探讨和解读着。

意大利的传统文化积淀、神话故事和古典艺术都是阿德莉娅基因中的养分，而她又尤其钟情于以手掌大小的尺幅来呈现自己生活及视觉记忆中的情感。通过使用传统的木板油画这一介质， 艺术家以小见大地构建了一幕幕别开生面的新“神话”场景，是一种图形式探索与象征观念的综合。艺术家还从过去的大师们那里得到了很多启发，如彼得·保罗·鲁本斯、耶罗尼米斯·博斯、奥拉齐奥·真蒂莱斯基、弗朗索瓦·布歇、蓬托莫和德门尼克·威涅齐亚诺等。她善用角色和符号，并以第三人称的方式改变原作中人与物之间的关系，好似闯入被过度神圣化的故事中，使之呈现出一种戏谑、诙谐之感。美魅与怪诞，歌颂与厌恶，这些充满矛盾的情绪始终贯穿作品，呈现两极之间的强烈张力，这也是艺术家致力探索和不断追求的意义。

Born in Genoa, Italy in 1969.

Graduated from the Brea Academy of Arts, the University of Genoa and the Sorbonne University in Paris, with a doctorate in aesthetics and philosophy，from 1990 to 1997.

In 2004, her work was selected for the BP Portrait Award and was invited to exhibit at the National Portrait Gallery in London.

When she was a student, Adelia devoted herself to studying philosophy and art and obtained a degree in aesthetics. During this period, she was exposed to a lot of Greek drama history and Greek mythology. These are beautiful, vital, inconceivable, mysterious and legendary stories. As classic image paradigms in art history, they have provided artists with countless inspirations and are constantly being discussed and interpreted.

Italy's traditional cultural heritage, fairy tales and classical art are all nutrients in Adelia's genes, and she is especially fond of presenting the emotions in her life and visual memory in a palm-sized scale. By using the medium of traditional oil painting on wood, the artist constructs a series of new "mythical" scenes with a small view, which is a synthesis of graphic exploration and symbolic concepts. The artist also drew much inspiration from past masters such as Peter Paul Rubens, Hieronymus Bosch, Orazio Gentileschi, François Boucher, Ponto Mo and Demenico Veneziano et al. She makes good use of characters and symbols, and uses a third-person perspective to change the relationship between people and objects in the original work, as if breaking into an over-sacred story, making it present a sense of humor and humor. Beauty and grotesque, praise and disgust, these contradictory emotions run through the works, presenting a strong tension between the two poles, which is also the meaning that the artist is committed to exploring and pursuing.

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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.