娜塔莉亚・冈萨雷斯・马丁
Natalia Gonzalez Martin
欢庆时刻
Rite of Passage
展览时间：2024年5月21日至6月22日
周二至周六 | 10:00–18:00
开幕时间：2024年5月21日，星期二，下午5至8时
Duration: May 21–June 22, 2024
Tuesday–Saturday | 10:00–18:00
Opening: Tuesday, May 21, 5–8 PM
上海市黄浦区云南南路261号6楼
6F, 261 S. Yunnan Rd., Huangpu Dist., Shanghai
关于展览
About the Exhibition
Gallery Vacancy荣幸地宣布于2024年5月21日至6月22日呈现艺术家娜塔莉亚・冈萨雷斯・马丁的个人项目“欢庆时刻”，展出一系列全新的木板油画作品。
此次展览以西班牙乡村的民俗庆典为背景展开，从西班牙著名剧作家德里科・加西亚・洛尔卡（Federico Garcia Lorca）的经典著作《耶尔马（Yerma）》中汲取灵感，重新诠释了其结尾处关于罗米利亚朝圣日（Romeria）的高潮场景。这个传统仪式指向一个特别的宗教时刻：“降临”，不仅代表了神圣到来于凡世的欢庆场面，更作为一个与日常生活息息相关的重要节点，贯穿了西班牙民众的人生历程：生命的到来与离去，家庭的缔结和奔散，都发生在这个特殊的节日。在剧中，女主角的个人理想与残酷现实之间的冲突在这一幕中到达了无法挽回的临界点，狂欢的庆典急转直下，原本脆弱地维系由社会教条的表面平静也由此被打破。
娜塔莉亚・冈萨雷斯・马丁
抚我至你的帷幕下，2024
木板油画
50 × 40 公分（19 3/4 × 15 3/4 英寸）
Natalia Gonzalez Martin
Carry Me Under Your Dress, 2024
Oil on wood
50 × 40 cm (19 3/4 × 15 3/4 in)
冈萨雷斯・马丁的木板油画作品借用了圣像绘画（Icon Painting）和虚空派绘画（Vanitas）的形式，以性别身份作为线索，探索了身体、传统、与人类精神之间错综复杂的纠缠关系。将展览空间转化成仪式化的艺术实验场所，冈萨雷斯・马丁运用一系列的宗教和文化符号，意图在历史时刻与现代意象之间建立一种新的关系。“欢庆时刻”重新审视了女性个体的内在挣扎与生存困境，以及自我实现与道德期望相对的微妙平衡。
若影若现地穿插在迷宫般的展览呈现中，神秘的女性人物与宴会用品的图像交织构成了冈萨雷斯・马丁所编织而成的情感景观，看似欢欣的表象下暗藏了有关于暴力和脆弱的线索指征。在《遥望山峦的女人》（2024）与《抚我至你的帷幕下》（2024）中，反复出现的马尼拉披肩是根植于西班牙殖民历史的典型配饰，不仅作为其文化中性别角色和人文传承的有形代表，更暗指了穿戴者所必须遵守的礼节与社会守则。作品中女性形象的具体身份是模糊而碎片化的，或是转身背对于观者，又或是被裁切至脖颈以下。回避了任何可能的正面揭露，这些人物面部的有意留白挑战了艺术史中肖像绘画的创作惯例，意在越过纯粹的肉体性表达指向更深处的内在暗涌。与此同时，披肩柔软、极富触感的织物肌理脱胎成为女性身份的符号代表，唤起身体性情感共鸣的同时，也暗合了个体性在社会系统中难以界定、无法捉摸的复杂地位。
娜塔莉亚・冈萨雷斯・马丁
供奉，2024
木板油画
18 × 13 公分（7 × 5 1/8 英寸）
Natalia Gonzalez Martin
Offerings, 2024
Oil on wood
18 × 13 cm (7 × 5 1/8 in)
这些温柔、感性的隐喻贯穿了冈萨雷斯・马丁的创作，延伸至她所描绘的肉质感水果中。在《午餐》（2024）和《供奉》（2024），画面中的水果精致而饱满，果肉上的露珠晶莹剔透，散发着宝石般的光芒。感官上，它们令人联想到红肿的双眸、和其中近乎溢出的泪水，彷佛被永久地定格在一刻无声的哀悼，又或是喜悦之中。作为艺术史上一个永恒的主题，“泪水”的符号性洪流席卷了几个世纪的中欧和西欧绘画，如今在冈萨雷斯・马丁感性的绘画中被重新发现，以一种当代的方式，是以捕捉到那个转眼间消逝无踪的短暂瞬间。这一滴透明的液体，模糊了神圣、世俗和尘世之间的界限，雾去了哭泣的玛丽亚或基督鲜血的经典象征，指向对当下世界生活事物的体验—–汗水和泪水作为我们情感交汇下所产生的证物。艺术家邀请观众重新释解对爱、失去和渴望的诠释，借助坚韧和力量的象征，籍此证明人类精神力量的永恒性。
娜塔莉亚・冈萨雷斯・马丁
五月微光下，2023
木板油画
50 × 40 公分（19 3/4 × 15 3/4 英寸）
Natalia Gonzalez Martin
Under the Light of May, 2023
Oil on wood
50 × 40 cm (19 3/4 × 15 3/4 in)
Gallery Vacancy is pleased to present Natalia Gonzalez Martin’s solo project, Rite of Passage, on view from May 21 to June 22, 2024, showcasing a new body of oil paintings on board.
Set against the backdrop of rural Spain, this exhibition draws inspiration from Spanish playwright Federico Garcia Lorca’s work, Yerma, reinterpreting its climax scene at the festival of the Romerias. This religious ritual addresses a specific catholic moment: the arrival, which symbolizes not only the advent of the divine, but also profanely perceives the transitioning points of a person’s life passage. In the play, the carnivalesque celebration was sent into an abrupt nosedive, as the conflicts between the heroine’s individual desires and the brutality of reality annihilate the tenuous balance precariously sustained through the disciplines of societal norms.
娜塔莉亚・冈萨雷斯・马丁
遥望山峦的女人，2024
木板油画
90 × 60 公分（45 3/8 × 23 5/8 英寸）
Natalia Gonzalez Martin
The Girl Looks at the Mountain, 2024
Oil on wood
90 × 60 cm (45 3/8 × 23 5/8 3/4 in)
Drawing from the formal qualities of icon paintings and the vanitas, Gonzalez Martin’s evocative works embark on a profound exploration of gender identity, contemplating on an intricate relationship between the body, traditions, and the resilience of the human spirit. Transforming the exhibition space into a site of ritual and artistic practice, Gonzalez Martin utilizes a series of religious and cultural symbols, bridging the connection between historical moments and contemporary imageries. Rite of Passage serves as a poignant reflection of the inner struggles faced by women throughout history, navigating the delicate balance between personal realizations and the weight of moral heritage.
Indistinctly interluded in the labyrinthine presentation, images of enigmatic female figures and feast objects are woven into the emotional landscape of Gonzalez Martin, where the rejoicing semblance is subtly jeopardized by symbols of violence and vulnerability. In La Muchacha mira al Monte (The Girl Looks at the Mountain) (2024) and Llévame bajo tu manto (Carry Me Under Your Dress) (2024), the recurring motif of the Manila shawl, a quintessential accessory deeply rooted in Spanish colonial history, serves as a tangible representation of gender roles and cultural heritage, embodying a woman’s sense of propriety and social standing. Whereas the female figures are depicted with obscured and fragmented identity, either looking away from the audience or intentionally cropped from below the neckline. Shying away from any visible confrontations, the absence of the figures’ facial appearances challenges traditional painting conventions, shedding light into the inner workings of the human psyche beyond mere physicality. The shawls step in and become the substitute of female expressions. The soft, tactile quality of the fabric imbues a visceral sense of raw emotion, mirroring the complexities of womanhood and the elusiveness for autonomy.
娜塔莉亚・冈萨雷斯・马丁
午餐，2024
木板油画
50 × 40 公分（19 3/4 × 15 3/4 英寸）
Natalia Gonzalez Martin
Lunch, 2024
Oil on wood
50 × 40 cm (19 3/4 × 15 3/4 in)
娜塔莉亚・冈萨雷斯・马丁
每年每地，2024
木板油画
21 × 15 公分（8 1/4 × 5 7/8 英寸）
Natalia Gonzalez Martin
Every Year in the Same Place, 2024
Oil on wood
21 × 15 cm (8 1/4 × 5 7/8 in)
关于艺术家
娜塔莉亚・冈萨雷斯・马丁, 1995年出生于西班牙，现工作生活于伦敦。她2017年在伦敦城市行业协会艺术学院获得绘画学士学位。她借用圣像绘画的形式，审视了宗教和文化传统对个人身体和身份的遗留影响，深入挖掘嵌入于日常生活中的仪式和惯例。通过传承自中世纪的木板油画技法，冈萨雷斯·马丁的作品融合了艺术史中的符号和人物形象，以及充斥于如今过度饱和的视觉经验中的当代图像。通过饱满鲜艳的色彩和如梦似幻的构图细节，她意图跨越神圣与世俗之间的界限，为个体经验和暗藏其中的生存困境提供另一种可能的叙事。个展包括：“欢庆时刻”，Gallery Vacancy，上海，2024；“Lady into Fox”，Galerie Sébastien Bertrand，日内瓦，2023；“Fever of Happiness”，Palazzo Monti，布雷夏尼，2023；“A change（would do you good）”，Hannah Barry Gallery，伦敦，2022；“Las Soledades”，Steve Turner，洛杉矶，2022。她的作品曾展出于：Soup Gallery，伦敦；Guts Gallery，伦敦；Cob Gallery，伦敦；Galeria Pelaires，帕尔马；Lawrie Shabibi Galerie，迪拜；East Contemporary，昂特勒沃；Collective Ending HQ，伦敦。
Natalia Gonzalez Martin, born in 1995 in Spain, now lives and works in London. She received her BA in Fine Art Painting at City & Guilds of London Art School in 2017. Drawing from the formal qualities of icon painting, her works examine the vestige of religious and cultural heritage on one’s physical body and identity, delving into the rituals ingrained in daily life. Drawing from the formal qualities of icon painting, her works examine the vestige of religious and cultural heritage on one’s physical body and identity, delving into the rituals ingrained in daily life. Employing medieval painting form, namely, oil on wood panel, as well as historic symbolisms and figurations in her paintings, Gonzalez Martin rouses the re-enchantment of the mythical, and fabulates daedal narratives that resonate the oversaturated-ness and irrepressible chaos of image content found in our contemporary visual experience. Through the hallucinatory details and vibrant color palette, her pieces transcend the boundaries between the divine and the secular, alluding to an alternative narrative of individual experience and the living predicament endured irrespective of time and space. Her solo exhibitions include: Rite of Passage, Gallery Vacancy, Shanghai, 2024; Lady into Fox, Galerie Sébastien Bertrand, Geneva, 2023; Fever of Happiness, Palazzo Monti, Brescia, 2023; A change (would do you good), Hannah Barry Gallery, London, 2022; Las Soledades, Steve Turner, Los Angeles, 2022. Her works have been featured in exhibitions at: Soup Gallery, London; Guts Gallery, London; Cob Gallery, London; Galeria Pelaires, Palma; Lawrie Shabibi Galerie, Dubai; East Contemporary, Entrevaux; Collective Ending HQ, London.
V A C A N C Y
周二–周六
Tuesday to Saturday | 10:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
