胶囊上海｜安东尼·艾柯诺：替身
胶囊上海荣幸呈现美国艺术家安东尼·艾柯诺的个展“替身”，展览时间为2020年10月20日至12月25日。
安东尼·艾柯诺：替身 Anthony Iacono: Body Double
展期 Date：2020.10.20 – 12.25
地址 Venue：胶囊上海，上海徐汇区安福路275弄16号1层
胶囊上海荣幸呈现来自纽约的艺术家安东尼·艾柯诺（Anthony Iacono）在中国的首次展览“替身”（Body Double），展出艺术家的彩绘纸上拼贴作品。艾柯诺邀请观众进入到夜色中的室内场景，去感受那些围绕着求爱和约会的各种潜在情绪张力。
有时我会走远路回家。我走在布鲁克林高地的黄昏里，公寓楼的白垩石吸收了路灯的光线，所有的建筑装饰细节都变得模糊和依稀。一层的家庭在起居室里收拾餐桌。有时他们狭长的长方形窗户将刺眼的明亮光线投射到窗外，将街区的其他部分蒙上阴影。这些场景总是像霍普的绘画。我喜欢透过窗户看他们房间的装饰，墙上挂些什么。他们的品味通常令人失望。有时会发生一些眼神接触，这总是让人感到不适。但这纯粹只是一个逃避现实者在游走。如果他们不想被看到，那早就把窗帘拉起来了。每一扇夜晚的窗都是一个被照亮的图像，它们恳求被看见和观察。
—— 安东尼·艾柯诺
艾柯诺的拼贴作品通常描绘单个的人物，他们着装随意却温文尔雅。这些人物在夜色般神秘的背景色彩中摆出日常的姿势，暗示着他们性格的内向和多疑。此外，黑暗也赋予了他们一种匿名性，使他们得以摆脱任何形式的不安全感和偏见。毫无疑问，这些作品与上世纪80、90年代兴起的惊悚片和恐怖片有共通之处。尤其是画面中反复出现的百叶窗、皮带和电话线等道具，都强化了危险和渴望的意味。惊悚片往往引诱观众对故事的展开产生期待，而艾柯诺的拼贴作品却完全摒弃了错综复杂的铺垫和结尾，转而引导观众在他精心构设的作品中去聚焦细节。
艺术家在观看1984年的同名电影之前就已经萌生了“替身”的创想，在他为《替身》（Body Double，2020）勾画的草图中，那两位外貌相似的人物早已为本次展览定下了基调。不同于他之前的许多作品中将日常物品与身体并置，从而制造富有挑衅意味的场面的手法，本次展览作品中的人物和场景都模仿了电影剧照。随着交友软件的普及，人们越来越多地在虚拟世界中寻找伴侣。或许如今的手机屏幕也如数十年前的电视机和大银幕一样，成为了人们进入另一个世界的窗口。当人们左右滑动屏幕时，那些未知的网名满足了我们的幻想，安抚了我们的疏离感和不安全感，使我们得以短暂地忘却束缚和限制。无论是在屏幕上还是现实中，观看所得从来都并非真实。未免透露更多信息，剥夺您观看的乐趣，我们在此邀请您来到展览“替身”，您或将发现自己内心的魅影。
Capsule Shanghai is delighted to present New York-based artist Anthony Iacono’s China debut exhibition “Body Double”. Through a series of collages of cut-out painted paper, Iacono invites the viewers to peep into nocturnal interiors charged with psyches that revolve around courtship and rendezvous.
Sometimes I take the long way home. Walking through Brooklyn Heights at dusk. The chalky stones that make up apartment buildings absorb any street light and all of the architectural molding details get lost and fuzzy. Parlor floor families clean up dinner tables. Their long rectangular windows cast the occasional harsh bright fracture of light onto the outside which masks the rest of the block into a shadow. It's always a scene from a Hopper painting. My favorite part is looking in and seeing how they decorate and what they hang on walls. Their taste is usually disappointing. Sometimes there is eye contact, which is always uncomfortable. But it's purely innocent escapist strolling. They would have closed their curtains if they didn't want to be seen. Each night window is an illuminated image that's begged to be looked at and into.
– Anthony Iacono
安东尼·艾柯诺 Anthony Iacono | 斯科特 Scott | 2020 | 纸上丙烯、拼贴 acrylic on cut and collaged paper | 100.3 x 62.9 cm｜图片由艺术家和纽约Marinaro画廊提供 Photo courtesy the Artist and Marinaro, New York
The bodies depicted in Iacono’s collages are single figures, dressed in casual yet suave attires. Their commonplace poses set against backdrops of enigmatic blocks of colors of the night, speak volumes of their possible introversion and suspicious personalities. Yet, darkness affords them anonymity and can free them from any forms of insecurity and discrimination. Unsurprisingly, these works resonate with the burgeoning film genres of erotic thriller and horror films of the 1980s and 1990s. In particular, one discovers their shared props such as blinds, belts, phone cords, etc. that heighten the potency of danger and desire. While the erotic thrillers flirt with a viewer’s anticipation for the story to unfold, Iacono’s collages dispense the prelude and outcomes of various entanglements, instead usher the viewer to inspect the details in his meticulously crafted works.
安东尼·艾柯诺 Anthony Iacono | 乔希 Josh | 2020 | 纸上丙烯、拼贴 acrylic on cut and collaged paper | 100.3 x 63.2 cm｜图片由艺术家和纽约Marinaro画廊提供 Photo courtesy the Artist and Marinaro, New York
Although the artist has conceived the notion of body doubles before having watched the 1984 film of the same title, his drawing for the two similarly looking figures in Body Double (2020) sets the tone for this exhibition. Unlike many of his previous works that juxtapose mundane objects next to body parts in provoking scenarios, the characters, and scenes in this exhibition mimic film-stills. With the contemporary modes of hooking-up and discovering sexual partners in the virtual world of dating apps, perhaps the mobile phone screen has become what the television or even the big screen served a few decades ago, as a window into another world. And as one swipes left and right, the unbeknown aliases satisfy our desires and fantasies, appease our alienation, insecurity, and anchor our inhibition at bay. The act of looking and observing, whether on screen or in person, are never what they really appear to be. Without further spoiling the pleasure of looking, we invite you to “Body Double”, where you may discover your chimera of the mind.
关于艺术家 ABOUT THE ARTIST
安东尼 · 艾柯诺（生于1987年）现工作生活于纽约。他获得了视觉艺术学院（纽约）的学士学位和弗吉尼亚联邦大学（弗吉尼亚州里士满）的艺术硕士学位。他曾于2013年就读Skowhegan绘画雕塑学校，并成为LMCC Workspace和艺术与设计博物馆（纽约）的驻留艺术家。他曾在P.P.O.W.画廊（美国纽约）、 The Approach画廊（英国伦敦）和 Marinaro画廊（美国纽约）举办个展。
他的作品曾在 Jack Hanley画廊（美国纽约）、106 Green 画廊（美国纽约）和 Rockaway Topless（美国纽约）的群展中展出，并于《纽约杂志》《乡村之声》和《新美国绘画》等媒体刊登报道。2017年，他获得了Toby Devan Lewis奖金。他目前是Sharpe-Walentas Studio Program的驻留艺术家。
Anthony Iacono is an artist based in New York (b. 1987). He received his BFA from the School of Visual Arts in New York and his MFA from Virginia Commonwealth University in Richmond, Virginia. He attended the Skowhegan School of Painting and Sculpture in 2013 and has been an artist in residence at LMCC Workspace and the Museum of Art and Design. He has had solo exhibitions at P.P.O.W. Gallery, The Approach and Marinaro Gallery.
His work has been included in group shows at Jack Hanley Gallery, 106 Green, and Rockaway Topless and he’s been featured in New York Magazine, The Village Voice and New American Paintings. In 2017 he was a recipient of the Toby Devan Lewis Fellowship Award. Iacono is currently a resident artist at the Sharpe-Walentas Studio Program.
画廊观展需要至少提前一天通过下方的胶囊上海小程序预约👇，预约通道将在10月19日开放。如有造成不便，我们深表歉意。
The gallery is open by appointment only. Please make a reservation at least one day prior to your visit via the mini-program below👇. The booking system will open on October 19. Thank you for your support!