Artist Talk | 约翰内斯 · 博西西奥: 创造一个人类赛博格,一个不属于任何群体的存在。

文摘   文化   2024-01-04 14:52   上海  







無 以 归 尘

It Is Not Made Of Mud And Cannot Dream of Returning To Dust 



艺术家|Artist
约翰内斯·博西西奥
Johannes Bosisio

展期 | Duration
2024年1月13日 - 2024年3月31日
January 13 - March 31, 2024

学术支持|Academic Support
任越  Ren Yue
朱迪·希尔  Jodie Hill

地址|Address
中国上海莫干山路50号6号楼105
Rm 105, Bldg 6, 50 Mo Gan Shan Rd, Shanghai








大家好,我是约翰内斯·博西西奥,一位意大利画家。我大多数的创作始于探索城市空间。我在废车场花大量时间拍金属和汽车碎片的照片。为了将它们用做绘画主题,我重新设计和诠释那些金属碎片和车身部件。从这些城市空间的经历中,我提取可用于艺术创作的重叠部分。詹姆斯· 格雷厄姆·巴拉德1973年创作的小说《超速性追缉》有助于我理解这些经历。小说讲述了一群人通过车祸获得快感的故事,审视了现代技术和消费文化对人类心理的影响。


Hello my name is Johannes Bosisio, I’m Italian artist and painter. The starting point for my practical process begins most of of the time by exploring the urban space. I spent a lot of time in car junk yard, taking pictures of metal and car scrap. And in order to use them as subjects for my paintings, I refashion and reinterpret those metal wips and car body parts on the surface. From these experiences in the urban space, I extract overlaps that I consider relevant in order to process them for an artistic perception. The novel Crash by James Graham Ballard, which was written in 1973, I think, helped me to contextualise these experiences. The novel talks about a group of people who gains sexual pleasure by participating in car accidents. The novel itself examines changes in the human psych caused by modern technology and consumer culture. 



约翰内斯·博西西奥

变形者系列

2021

金属框, 布面油画

110 x 90 cm


Johannes Bosisio

Shapeshifter Series

2021

Metal frame, oil on canvas

110 x 90 cm



                                                  

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约翰内斯·博西西奥

碰撞系列S2401

2023

布面油画

169 x 134.8 cm


Johannes Bosisio
Crash Series S2401
2023
Oil on canvas
169 x 134.8 cm




我对人与机器之间关系的兴趣其实是2014年搬到柏林之后产生的。在柏林的享乐主义俱乐部,我深刻感受到电子音乐的未来感和机械之声,对人与机器之间的互动和关系产生了强烈的兴趣。我看到的这些机械舞变成了音乐,对我来说,一台巨大的机器产生了,人、赤裸的身体和振奋的音乐融合在一起,电子音乐好像为身体提供了动力,让身体像机器人一样活动。这让我非常着迷,我完全沉浸其中,这也渗透到我的作品中。因此,在处理人与机器之间关系的问题时,我希望在观念和技术上找到二者之间更直接且一致的联系。于是我想到赛博格,又称控制论有机体。赛博格指有机生物和机器的合体,它通常被用来描述那些身体部位被人造物彻底替换的人。


My interests in relations between man and machine actually started to develop as I moved to Berlin in 2014. Through my strong involvement with Berlin’s hedonistic club culture, which is shaped by futuristic and mechanical sound of electronic music, I formed a strong interest in interactions and relations between man and machine. These mechanical dances which I saw on the dance floor became one of the music, like for me, a gigantic machinery was created, a fusion between man, the naked body and the electrifying music, it looked like as if the electronic music was the fuel for the bodies, which was moving like robots. It fascinated me immensely and I was completely soaked in. This fascination in turn found its way into my work. So also for time like dealing with relationship between man and machine, this led me to a desire to find a more direct and consistent connection between these two components in a conceptual but also in a technical way. That made me think of the conception of the cyborg, also called cybernetic organisms. The term cyborg refers to a hybrid of a living organism and machine. It is usually employed to describe people whose bodies are permanently supplemented by artificial components. 


约翰内斯·博西西奥在工作室创作 ©约翰内斯·博西西奥

Johannes Bosisio at his studio ©Johannes Bosisio




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约翰内斯·博西西奥

图像系列S2407

2023

布面油画

119 x 89.5 cm


Johannes Bosisio

ICON Series S2407

2023

Oil and sand on canvas

119 x 89.5 cm



唐娜·哈拉维是另一位我敬佩的理论家。她在《赛博格宣言》中写道赛博格不只是一个机械化的人,而是动态的越界行为。人与大地,身体与头脑,生物与技术不断地相互改变。所以赛博格可以进行精神探索,因为它脱离了传统和活动,或者说现实的限制。赛博格不是人,因为它超越了二进制逻辑。哈拉维以先进技术为例,描述了她眼中的后现代社会乌托邦,以及打破惯性思维和界限的缘由。她创造了一个人类赛博格形象,一个不属于任何群体的存在。赛博格意味着对西方思想中精神和身体、动物和机器、唯心和唯物二元划分的另一种看法。她认为这些二元论不可避免地支持和强化了性别、种族和资本主义的界限。在哈拉维看来,赛博格是超越二元论的唯一途径。


Another theorist which I admire a lot is Donna Haraway. She clams in her essay The Cyborg Manifesto that the cyborg is not only a mechanized form of the human beings, it is a dynamic transgression of boundaries. Figure and ground, body and mind, biology and technology are continually modifying each other. So the cyborg allows spiritual exploration because it’s freed from conventions or activity, or another word we call also reality. The cyborg isn’t human because it also exceeds binary logic. Using the example of advanced technology, Haraway describes her utopia of post modern society and the cause for breaking down of common categories of thinking and boundaries. She creates the image of the human being a cyborg, a being detached from categories. The cyborg represents an alternative to western thinking towards dualisms of mind and body, animal and machine, idealism and materialism. She believes those dualisms inevitably support, if not reinforce, the boundaries of gender, race and capitalism. In Haraway’s view, the cyborg is the only way to transcend any dualism.


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约翰内斯·博西西奥

肖像系列S2402

2023

板上油画

41.3 x 27.7cm


Johannes Bosisio

Portrait Series S2402

2023

Oil and sand on canvas

41.3 x 27.7 cm



我的作品关注对比,颜色的反差、主题的碰撞,尤其注重对于表面材料的处理。我喜欢在作品表面使用不同材料最大限度地重现这种对比,可以是同一件作品中,也可以是墙上并置的两件作品之间。我如何选择材料?其实和选择主题是一样的,从探索城市空间开始。在城市里我看到金属的表面,各种各样的金属。他们如何组成?什么质地?粗糙吗?光滑吗?我试图找到尽可能接近的材料来重现这些表面,有时甚至不必重现,我会进一步选择更原始的材料,让它真实还原。我喜欢对材料进行尝试。因此,为了尽力还原表面, 我不想而给自己设限。我想自由探索,尝试新事物,也会在需要时,朝着完全不同的方向进行创作。


My work is about contrasts, color-wise, subject-wise, and especially on the surface. I like to work with different materials on the surface to create this, and to maximize, this kind of contrast, within the same work, or also within two works seen together on the wall.  How I choose the materials? It’s actually the same way how I choose the subject. It starts in exploring the urban space. For experience the urban space, I see surfaces of metals, of different kinds of metals. How they composed? What’s the texture? Is it raw? Is it smooth? And from there, I try to find as close a material which maybe can imitate those surfaces, or maybe some of them even don’t have to imitate them, even though the materials I choose can get even further, or making it more raw, as the material actually is. I like to play with those elements, materials. Therefore I don’t want to set myself certain rule to be as near as the surface I try to imitate. I want to give myself this freedom to explore, to try out new things, and to go maybe also a completely different direction as the primary subject matter was allowing to.




约翰内斯·博西西奥

机器人眼

2022

综合材料

50 x 50 x 40 cm


Johannes Bosisio

Robot Eye

2022

Mixed media

50 x 50 x 40  cm






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 Ghetta 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, ZÉRUÌ Gallery (London, 2022); SHARP HYBRID CRASH, Doris Ghetta 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).









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