無 以 归 尘
It Is Not Made Of Mud And Cannot Dream of Returning To Dust
January 13 - March 31, 2024Rm 105, Bldg 6, 50 Mo Gan Shan Rd, Shanghai
BROWNIE Project 画廊欣然宣布于2024年1月13日(周六）呈现艺术家约翰内斯·博西西奥在中国的首次个展《无以归尘》。
BROWNIE Project is pleased to present It Is Not Made Of Mud And Cannot Dream Of Returning To Dust, the first solo exhibition of artist Johannes Bosisio in China, on view from January 13, 2024. 约翰内斯·博西西奥在工作室
Johannes Bosisio in his studio ⓒ Johannes Bosisio
围绕着断裂、损毁与灾难时刻可能的共生，约翰内斯·博西西创作于2023年的一批新画将目光投向（后）汽车社会中人与机器“相撞”后的事故现场。然而本次展览中，艺术家无意展现事故的暴烈血腥或表露明确的道德姿态；相反地，这些绘画选择定格一些“超静态”的视觉瞬间：鲜艳的各色铁皮彼此弯折、堆叠、穿插；一整块钢材料的闪亮表面在重击或密压下呈现出仿佛文人石的纹路；金属材料的破损边缘明显下凹和上翘，露出一小块深不见底的洞渊；一小片硬物穿过某种标准机械构材，碎屑飞溅。然而这些瞬间又决不是污脏和混沌的——它们并非人类凝视的镜像，很难说任何一种社会情感在此占据上风；这些画面更似剥离了人类绝对主导的、冷静而不可逆转的人与机器的交融，即使人类已不在场。这是这位年轻艺术家作品的吊诡之处，也正是其魅力所在。
Centering around fractures, damages, and moments of catastrophe that may lead to a symbiotic relationship, paintings newly created by Johannes Bosisio in 2023 turns to look at accident scenes after the "collision" of man and machine in the (post) automobile society. However, in this exhibition, the artist has no intention to portray the brutal and bloody aspects of accidents nor to express categorically any moral stance; instead, the shown paintings freeze some “hyper-static” visual moments: bright colored iron sheets folding, stacking and intersecting with each other; the shiny surface of steel exhibits the patterns resembling that of the literati stones under heavy blows or intense pressure; the damaged edge of the metal material is noticeably dented and upturned, revealing a small bottomless pit; a small piece of hard object piercing through a certain standard mechanical structure with debris scattered. Yet these moments are by no means dirty nor chaotic — they are not reflections of human gazes, it is difficult to pinpoint any societal emotion predominates here; these images rather seem to demonstrate the calm and irreversible fusion of humans and machines, stripping away the absolutely dominant human control — even though humans are no longer present here. This is where the paradox and charm of the young artist’s work locates. 约翰内斯·博西西奥
缺系列S2403
2023
布面油画
225.4 x 165.5cm
Johannes Bosisio
Lack Series S2403
2023
Oil on canvas
225.4 x 165.5cm
约翰内斯拥有在意大利、柏林和伦敦多地生活工作的经验，也将遍布城市及乡村的生活场景视为自己选取不同创作对象和创作材料的应然标尺。艺术家曾花费大量时间在城市空间游荡，并在旧汽车厂拍摄报废车辆的现场和残迹；这些起初由直觉主导的兴趣，经由科幻作家唐娜·哈拉维（Donna Haraway）和哲学家安迪·克拉克（Andy Clark）的文本，逐渐将他引向对赛博格概念及人与机器关系的质询。Johannes has lived and worked in various places, including Italy, Berlin, and London, and he considers urban and rural life scenes as his natural benchmarks for selecting different subjects and source materials. The artist has spent a lot of time wandering in urban spaces, photographing scenes and remnants of abandoned vehicles in old automobile factories; through texts of science fiction writer Donna Haraway and philosopher Andy Clark, these interests initially driven by intuition gradually led Johannes to question the concept of cyborg and the relationship between humans and machines.
约翰内斯·博西西奥
缺系列S2401
2023
布面油画和醇酸树脂
199 x 136.4cm
Johannes Bosisio
Lack Series S2401
2023
Oil and alkyd resin on canvas
199 x 136.4cm
现今人们似乎忘了，“智能手机是人的另一只器官”这一甜美而惊怖的比喻存在着与其逻辑一致的前身：“汽车是现代人的躯壳和腿脚”。自19世纪末，在科技、资源与工业化审美的加持下，人类为自己量身定制了一座座移动的神殿，缔造了绵亘至今的汽车时代。此处隐含的共同愿景是：一旦坐进驾驶座、手扶方向盘，人所能确凿获得的就不仅仅是奔向空间上的某一目标，而更是奔向时间的远方——即未来。
People nowadays seem to obliviate that the sweet but terrifying analogy “a smartphone is an extended organ of the human body” has a logical precursor: “cars are the shells and legs of the modernists”. Since the late 19th century, with the support of technology, mined resources, and industrial aesthetics, humans have customized movable temples for themselves, creating the ongoing era of automobiles. The implicit shared vision is that once you sit in the driver’s seat with steering wheel in hands, what you gain is not just the ability to reach a spatial destination but also to journey into the future, into time.
约翰内斯·博西西奥
微系列S2402
2023
布面油画和亮片
119.2 x 90cm
Johannes Bosisio
Micro Series S2402
2023
Oil and glitter on canvas
119.2 x 90cm
然而伤害和隐忧常常伴随发展而来。在最浅显的意义上，汽车所连接的未来时间之一，是死亡。交通事故率一直是百年机械化道路车辆发展史无法摆脱的阴影，甚至在上世纪五六十年代，飙车文化、“死亡驾驶”一度成为一股文化暗潮。汽车工业这一建基于科学成就和人类理性（汽车的普及也诞育了现代批量生产、批量消费的社会经济体系“福特制”）的产物，在裸露其坏踵时竟然落到了感性与冲动的那一瞬撞击当中；在这一意义上，冲突而致的毁灭带来了某种出离社会规范的解放和超越性，人与机器（人造物）的愿望在此不谋而合。约翰内斯的创作过程和作品本身同样充满冲突，其画作所描绘的机器的毁损局部，也正可被视作一张张机器与肉身相撞的现代社会病理切片。
However, harm and uneasiness often accompany the progress in perception. In the simplest sense, one of the future times connected by cars is death. The traffic accident rate has always been an inescapable shadow in the century-old history of mechanical road vehicle development, and reckless driving and “death racing” were once cultural undercurrents in the 1950s and 1960s. The automobile industry, a product built on scientific achievements and human rationality (the popularization of automobiles also gave birth to the social and economic system of mass production and consumption known as “Fordism”), exposed its Achilles’ heels and fell into the moment in the realm of sensibility and impulse. In this sense, destruction caused by clash brings about a certain liberation and transcendence from social norms, where the desires of humans and machines (artificial objects) coincides. Johannes’s creative process and his work are equally full of collisions; the damaged machine parts in his paintings can also be seen as pathological slices of modern society where machines collide with human bodies.
约翰内斯·博西西奥
微系列S2403
2023
布面油画和亮片
109.5 x 99cm
Oil and glitter on canvas
这些切片的意义不止于标本。或许是出于“超越自身存在”的招引，汽车也开始承载人类所投射的生理情欲，在未必完全知情同意的情形下充当了构建超人类欲望范式的其中一阶。在最极端的情况下，人们甚至从车辆相撞的瞬间获得狂喜：无论是旁观还是亲历，技术理性和消费主义对世俗的影响在这样的情感体验中已近乎消灭殆尽。机器及其携带的技术由此进入了人最私密的、卑下与崇高同在的领域，电影《钛》中关乎人车之间性爱和生育的越轨想象即将我们送入情欲、孕生和轮回的“汽车叙事”当中；在约翰内斯的绘画里，这种情欲则以其静熄之后的形态存在，却要以创伤的发生和保留为证据：它们依旧极为光洁、鲜亮，呈现出锐利的边缘甚至新鲜的汁液，仿佛机器对胜利的宣告与对其寄主——人类——的追忆与呈供。
The significance of these slices goes beyond mere specimens. Perhaps driven by the lure of "transcending one's own existence", cars have also begun to carry the biological desires projected by humans, serving as one part in constructing a paradigm of super human desire without complete informed consent. In the most extreme scenario, people even gain ecstasy from vehicle collisions: whether they are witnessing or experiencing, the influence of technological rationality and consumerism on the secular world has been almost eliminated in such emotional experiences. Machines, along with their technological aspects, have thus entered the most private, humble and sublime realm of humans. The deviant imagination about sex and reproduction between humans and cars in the movie “Titanium” sends us into the “automobile narrative” of lust, procreation, and reincarnation. In Johannes's paintings, this kind of desire exists in its post-extinguished form, but is corroborated by the occurrence and preservation of trauma: they remain extremely clean, smooth and bright, with sharp edges and even fresh fluids, as if machines were making a proclamation as well as paying homage to their host - humans.
约翰内斯·博西西奥
肖像系列S2401
2023
板上油画
41.5 x 27.1cm
这些几乎剥离人类情感的“超静态”画面，让人与人造物的分离凝固在它即将化骨成尘的前一刻。直至死亡与毁灭，人与机器的分离都未能达成，甚至在这样的定格画面中更显亲密；试图无限接近这个分离时刻的艺术家不过是以处于回溯时态的绘画创作将这种近身肉搏的现实暴露了出来——它们锋利而美丽，比起毁灭来更像是一场新生。而这样的新生怎会是“人本位”的呢？——赛博格不会梦到伊甸园：非为泥造，无以归尘。
These "hyper-static" images, which almost devoid of human emotions, solidify the separation between humans and artificial objects at the moment before they are about to fade into bones and burnt to dust. This separation has not been achieved even until death and destruction, but rather appear more intimate in such images. The artist attempts to infinitely approach this moment of separation by simply exposing the reality of close combat through paintings in a retrospective tense — they are sharp and beautiful, more like a new birth than destruction. And how could such a newborn be “human-centered”? — cyborgs do not dream of Eden: it is not made of mud, and cannot dream of returning to dust.English Translation / Zhang Zhe
约翰内斯·博西西奥
Johannes Bosisio
约翰内斯·博西西奥1994年生于意大利卡瓦莱塞，现居伦敦。他的创作实践涵盖绘画和雕塑装置，作品通过描绘与技术无机体相融合的有机体来构建两者之间的变形与混合情境，及其所投射出的对于自由、欲望的最终想象。博西西奥将光滑闪亮的金属镀铬材料表面转变成破裂的、粗粝的、也更有生命原始冲动的形态，以重新思考我们与技术的依存关系，及其对人类生存和个体身份所产生的影响。受到作家唐娜·哈拉维和安迪·克拉克的影响，博西西奥的艺术创作质询人与技术、人与机器间的传统分界，并以将两者相融合的多元形式来创造新的可能。
博西西奥的作品在全球范围内展出，并以其独特的艺术风格和创作观念赢得了赞誉。近期主要个展包括：“欢迎来到我的忧郁(与金相佑的双人展)”, 斯帕玛奇画廊 (东京, 2023)；“灵魂来自物体来自灵魂来自物体来自灵魂”, ZÉRUÌ Gallery (伦敦, 2022)；“锋利 混合 碰撞”, Doris Gehtta 画廊 (奥蒂塞伊, 2022)；“混合”, Project room Cineast (柏林, 2018)。近期主要群展包括: “另一面曾是”, Guts Gallery Projects (伦敦, 2023)；“载玻片”, 万一空间 (深圳, 2023)；“我的母亲曾是一台电脑”, Indigo+Madder Gallery (伦敦, 2022)； “群展”, 104 Gallery (东京, 2021)；“租赁第一辑”, Project room Autohaus (卡塞尔, 2021)；“这是一件好事”, Judith Andrae Gallery (波恩, 2021)。近期奖学金和驻留包括：柏林 Artist Inside 奖学金（柏林, 2021）、Spazio Speciale 驻留项目（巴勒莫, 2019）。他曾在柏林白湖艺术学院（2014-2019）和皇家艺术与设计学院学习纯艺绘画（2020-2022）。
Johannes Bosisio (b. 1994) is an Italian-born artist based in London whose practice spans painting and sculptural installation. His work celebrates transformation, freedom, desire, and hybridization by depicting organic bodies fused with technological prostheses. Through his use of once-smooth and shiny chrome surfaces that are now scratched, rough, and alive, Bosisio reconsiders our relationship with technology and its impact on our lives and identities. His approach is informed by the work of authors Donna Haraway and Andy Clark, and his art challenges traditional boundaries and creates new possibilities by merging organic and technological forms.Bosisio has exhibited his work internationally and has garnered critical acclaim for his unique style and perspective. His recent solo exhibitions include (Duo-show w/ Sang Woo Kim) Welcome to my Melancholy, Supermarkt Gallery (Tokyo,2023), Souls from Objects from Souls from Objects From Souls, Zerui Gallery (London, 2022); SHARP HYBRID CRASH, Doris Gehtta Gallery (St. Ulrich, 2022); Hybrids, Project room Cineast (Berlin, 2018). His recent group exhibitions include on the flip side was Guts Gallery Projects (London,2023); Slides Trio Exhibition, W.ONESPACE (Shenzhen, 2023); Detox Retox, Kali Gallery (Lucerne,2022); MY MOTHER WAS A COMPUTER, Indigo+Madder Gallery (London, 2022); Groupshow, 104 Gallery (Tokyo, 2021); LEASING VOL.1, Project room Autohaus (Kassel, 2021); Und das Ist auch gut so, Judith Andrae Gallery (Bonn, 2021). Recent scholarships and residencies include: Artist Inside scholarship (Berlin, 2021) and Spazio Speciale residency Program (Palermo, 2019). He studied DIPLOMA Fine Art Painting at Weissensee School of Art Berlin (2014-2019) and MA Fine Art Painting at the Royal College of Art and Design (2020-2022).
