氛围感天花板｜安·维罗尼卡·詹森斯个展“粉黄蓝”——夏日迷雾强势来袭！
我对这样一种想法很感兴趣：
一件作品在吸引你眼球之前，是几乎不可见的。
当你被它吸引，它会变得异常明显，
并与你完成一次邂逅：在未留意到它的情况下，
你兴许与之擦肩而过。但只要留神于它，
它便为你创造出一次体验。
—— 安·维罗尼卡·詹森斯
2023.6.30-11.26
木木美术馆 (798馆)
策展人：王宗孚，木木美术馆艺术总监兼首席策展人
*图片来自网络
Hot Pink Turquoise，2006，Photo Credit Andrea Rossetti，Courtesy Esther Schipper, Berlin
我们邀请观众通过詹森斯的作品思考自身感知的局限性、尝试让人们更深刻地理解艺术的物质性与非物质性。艺术家通过对光和色彩的调动制造出感官体验，又适逢北京夏季气温变化，这将给观者留下更持久的印象，并提出与作品更深层次的互动性、进一步思考人类感官认知与现实之间的关系。不要错过安·维罗尼卡·詹森斯的沉浸式作品，以及这场挑战和拓展既定观念的展览。
Ciel, 2002-2003, 图片来自网络
Chapelle Saint-Vincent, 2013, 图片来自网络
安·维罗尼卡·詹森斯 (Ann Veronica Janssens) 1956年生于英国福克斯通。她曾就读于布鲁塞尔坎布雷国立视觉艺术高等学院 (L’École de la Cambre)。艺术家目前在布鲁塞尔生活和创作。
詹森斯在许多重要机构举办过个人展览，其中包括：兰伯特收藏馆，亚维农（2022年）；米兰现代艺术博物馆，米兰（2021年）；南伦敦画廊，伦敦（2020-21年）和路易斯安那现代艺术博物馆，胡姆勒贝克（2020年）；橘园美术馆，巴黎（2019年）；奇亚斯玛当代艺术博物馆，赫尔辛基（2018-19年）；巴尔的摩艺术博物馆，巴尔的摩（2018年）；纳舍雕塑中心，达拉斯（2016年）；韦尔科姆收藏馆，伦敦（2015年）；WIELS艺术中心，布鲁塞尔（2009年）；CCA沃蒂斯当代艺术研究院，加利福尼亚（2003年）；奥塞博物馆，巴黎（2003年）；柏林新国家美术馆，柏林（2001年）等等。
艺术家的主要群展包括：国家影像美术馆，巴黎（2022年）；梅斯蓬皮杜中心，梅斯（2021年）；维也纳艺术博物馆，维也纳（2019年）；海关大楼博物馆，威尼斯（2019年）；海沃德画廊，伦敦（2018年）；BOZAR艺术中心，布鲁塞尔（2016年）；路易斯安那现代艺术博物馆，胡姆勒贝克（2016年）；第十届Manifesta双年展，冬宫博物馆，圣彼得堡（2014年）；东京宫，巴黎（2014年）；大皇宫，巴黎（2013年）；卢浮宫，巴黎（2012年）等等。
詹森斯的作品被以下机构所收藏：福尔林登博物馆卡尔迪奇收藏，瓦瑟纳尔；德蓬当代艺术博物馆，蒂尔堡；FNAC，巴黎；JUMEX美术馆基金会，墨西哥；路易斯安那现代艺术博物馆，胡姆勒贝克；马赛当代艺术博物馆，马赛；塔斯马尼亚古今艺术博物馆，塔斯马尼亚；安特卫普当代艺术博物馆，安特卫普；国立现代艺术博物馆 - 蓬皮杜中心，巴黎；比利时皇家美术博物馆，布鲁塞尔；Mu.ZEE美术馆，奥斯坦德；当代艺术博物馆，格朗霍奴；纳舍雕塑中心，达拉斯；根特国立当代艺术博物馆，根特；特拉维夫艺术博物馆，特拉维夫，以及许多其他机构。
Ann Veronica Janssens: pinkyellowblue
“I’m interested in the idea that a work can be almost invisible until it catches your eye, after which it becomes almost hyper visible and establishes an encounter: you could walk past without noticing it, but it creates an experience when you do” - Ann Veronica Janssens
Ann Veronica Janssens, the renowned Belgian artist, will be presenting her first solo museum exhibition in China at the M WOODS Museum, Beijing. The exhibition, entitled pinkyellowblue, is curated by Victor Wang as a meditative journey through Janssens’ 40-year career of colour and light in motion, a survey exhibition that will feature a selection of Janssens' luminous and sensorial works, inviting viewers to enter an immersive spectrum, where colour and light combine to expand the senses and stimulate perception.
Janssens’ art resonates with both Eastern philosophy and the opulent harmonies of color and light utilized in artistic movements such as Op Art, Minimalism, and Light and Space, which emerged in the 1950s and 1960s.These movements, which examined sensory and perceptual experiences through optical illusions and the manipulation of perception, find echoes in Janssens' use of light and space as mediums in themselves. In the context of China, the artist's practice also finds synergy with the philosophical traditions of East Asia, particularly Buddhism, where different hues of colour are believed to align with distinct mental states or qualities.
This survey exhibition, which comprises of key works from her 40-year career, was planned with the artist and curator over several years and is constructed as a series of experiential encounters and ‘sensory modalities’ that highlight fundamental ideas and concepts that Janssens has been exploring throughout her career. Forming the core of this exhibition as an immersive body of colour are several of the artist's most iconic works, such as: pinkyellowblue (2015-2023), and a new Beijing version of Janssens’ celebrated glitter sculptures. These artworks demonstrate Janssens' exploration of the dematerialisation of sculpture, unbounded by material or form. pinkyellowblue is an immersive installation that uses light and color to create a sensory and perceptual experience for the viewer. The work consists of a single space infused with hues of bold and bright colour and fog. As the viewer moves through the spaces, the colors blend and shift, creating a sense of movement and transformation: a journey of the mind and body through colour and space. Untitled (Silver Glitter) is another ethereal work that uses dispersed glitter to create a sea of silver colour and light on the floor. As the glitter is released into the gallery, it dances and swirls with the air upon impact, creating a floor sculpture in the space. Like pinkyellowblue, this work highlights Janssens' exploration of the “instability of material”, as it focuses on the sensory and experiential aspects of the work rather than physical form.
The exhibition, planned to coincide with the summer solstice, is structured as a journey into the expanded realm of sculpture. It offers a transcendental experience that uses colour and light as a primary gateway for understanding Janssens’ investigation into ‘soft sculpture’. It brings together key works that highlight the artist's approach to making art that examines sculpture through an interdisciplinary field.
For the first time in Beijing, key works that consider this relationship between the viewer, the museum, and light such as Hot Pink Turquoise (2006) and Rouge 106 Bleu 132 (2003) are displayed. In these works, Janssens blends continuous fields of light with the museum's architecture to produce unique spaces that absorb the viewer in spectrums of colour. Enhancing both the visual and experiential nature of these works in the galleries, filling each room with soft, coral and cerulean hues of light, creating a sense of warmth and temporary tranquillity.
About the Artist
Ann Veronica Janssens was born in 1956 in Folkestone, England. She studied at L’École de la Cambre in Brussels. The artist lives and works in Brussels.
Janssens has had numerous solo exhibitions in major intuitions such as: Collection Lambert, Avignon (2022); Galleria d'Arte Moderna – GAM, Milan (2021); South London Gallery, London (2020–21) and Louisiana Museum of Modern Art, Humlebæk (2020); Musée de l'Orangerie, Paris (2019); Kiasma Museum of Contemporary Art, Helsinki (2018–19); Baltimore Museum of Art, Baltimore (2018); Nasher Sculpture Center, Dallas (2016); Wellcome Collection, London (2015); WIELS, Brussels (2009); CCA Wattis Institute for Contemporary Arts (2003); Musée d’Orsay, Paris (2003); Neue Nationalgalerie, Berlin (2001), amongst many others.
Selected group exhibitions in institutions such as: Jeu de Paume, Paris (2022); Centre Pompidou-Metz, Metz (2021); Kunsthalle Wien, Vienna (2019); Punta della Dogana, Venice (2019); Hayward Gallery, London (2018); BOZAR – Centre for fine Arts Brussels (2016); Louisiana Museum of Modern Art, Humlebæk (2016); Manifesta 10, State Hermitage Museum, St. Petersburg (2014); Palais de Tokyo, Paris (2014); Grand Palais, Paris (2013); Centre Pompidou, Paris (2012), amongst many others.
Janssens's work is held in the collections of Caldic Collection – Museum Voorlinden, Wassenaar; De Pont Museum, FNAC, Paris; Fundación Jumex, Mexico City; Louisiana Museum of Modern Art, Humlebæk; mac, Marseille; Mona – Museum of Old and New Art, Tasmania; MUHKA, Antwerp; Musée national d'art moderne – Centre Pompidou, Paris; Musées royaux des Beaux-Arts de Belgique, Brussels; Mu.ZEE, Oostende; Musée des Arts Contemporains – Grand Hornu; Nasher Sculpture Center, Dallas; S.M.A.K., Gent; Tel Aviv Museum of Art, Tel Aviv, and many others.
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