Justin Caguiat - 纹饰「元宇宙」

文摘   文化   2023-07-12 13:30   香港  


对哦Duo    

讲艺术

客观

全面

专业

现实之「上」,臆想之「下」

语言之「外」,意识之「中」


当人工智能大举偷袭创意行业

起笔手绘,可有什么新颖方式?

亲自制画,能具何种独特意义?


他用斑驳色形勾连起思维切片

让图像变为流转记忆的二维风景

通感联觉,有机滋长

这是难以用言语形容的潜意识旅程

贾斯汀·卡吉亚特

Justin Caguiat

1989年

出生于日本东京

现工作生活于纽约


Caguiat喜欢用多元媒介诠释体验


2017年

在苏黎世美术馆

Kunsthalle Zürich

弗吉尼亚TheSunroom表演


同年发表出版诗集

A RAT, A DOG, A BOY

(一只老鼠, 一只狗, 一名男孩)


2018年

开始尝试将流转艺识凝聚成「

无题

2018年作

Photo: Marco Davolio © Justin Caguiat

并在纽约15 Orient举办首次个展

God is a Concept from

a Story Come to Life

(上帝是从一个故事

变成现实的概念)

👇🏻

© Justin Caguiat

摩登现代的白色空间里

两件「机体」装置最抓眼球

👇🏻

一名困顿床榻的日本「面具人」

一只爬伏墙壁的青蛙标本


理念主旨,是毁灭重生的临界态

© Justin Caguiat

鬼魅异质的阴郁氛围过渡进画面

👇🏻

在张张挂毯式陈列的原生麻布

半透水粉覆盖住粗砺表层

氤氲褪色,就像来自旧时光的雾气


线、模棱两可的物形穿插交织

大至宇宙星空,微如细胞颤动

A Rat, A Dog, A Boy 一只老鼠, 一只狗, 一名男孩






Life is Heaven

生活是天堂







Merculet

梅库莱特


The Green Eye of Spring 春天的绿色眼睛


On The Marionette Theater 在木偶剧院

© Justin Caguiat

美学结构

细密精致的平面纹饰涵盖广泛参考


巴洛克式民间艺术60s迷幻音乐

纳比派Les Nabis维也纳分离派

日本漫画浮世绘



但在配比颜色、打磨轮廓

Caguiat仍有大量灵感源自文学


比如2019年作品

👇🏻

命名前半句来自《旧约》第40章

也是1965年一部科幻小说标题

All Flesh is Grass,

and all its Trust like the Flowers of the Field

所有的肉体都是草, 以及它所有的信任都像田野里的花

2019年作 综合媒材 麻布 219.7 x 148.9 cm.

Exhibition view: The Opposing Shore, Lomex, New York (15 March–21 April 2019). Courtesy Lomex.

晦涩字词被他演变为抽象造型

带领观者脑、眼协奏

体味画里画外的「互文」之趣


而更具随机性质的「信号捕捉」

发生在2019年底新冠爆发之时


Caguiat与家人逃到湾区伯克利

他用一张画作《My meat

is to do the will of him

(我的肉就是遵行他的旨意)

与藏家好友交换得来青旅食宿

该藏家于疫情前购入此所、并开展翻新

并在床与墙的间隙发现一本日记

Blue Madonna's Material Cell 蓝色圣母的物质细胞

2019年作 油彩 麻布 302.4 x 218.2 cm.

Courtesy:GREENE NAFTALI

↑作品细节↓

© Justin Caguiat

素昧平生的灵魂隔空相遇

Caguiat深深沉迷在散装文体

以及穿插点缀的手绘图案


他将每章题目视作创意「启动阀」

让黑色幽默化身形块舞蹈

在画面上演一出出魔幻现实悲喜剧

"Thousand Year Old Laughter"

《千年笑声》

He was a young lad.

他那时还是个年轻小伙子。

He discovered a video store carrying a large collection of American and Euro films with religious themes. Other half of the store was

他发现了一家音像店,里面有大量以宗教为主题的美国和欧洲电影。商店的另一半是

SFX Horror.

特效恐怖片。

Lurking around the store… the instructions have unfolded a spell

潜伏在商店里...说明书上显示了一个咒语

Entranced by images of suffering grotesque eroticism
Fell into images forbidden the name is not what it appears

被痛苦怪诞的情色画面迷住了

陷入违禁图像中,名字并不像它出现的那样

This way was truly nothing already it disappeared as smoking trails left by the things made seemingly in desires shape

这条路真的什么都不是,它消失了,就像那些看起来是欲望形状的东西留下的烟迹一样


solitary in fluid sunlight reflecting off store window eyes
that unsubstantiated the hollow form revealed another presence.

孤独地沐浴在商店橱窗眼睛反射的流动阳光中

那未经证实的空洞形体透露出另一种存在

generating heat but not light and melting snow it turned into water,
we lived for 16 years in Tokyo.

它产生的是热而不是光,融化的雪变成了水,
我们在东京住了16年


Thousand year old laughter 千年笑声

2019年作油彩 麻布 242.6 x 325.5 cm.

Courtesy:GREENE NAFTALI

↑作品细节↓

© Justin Caguiat


"Extraction and Compassion"

《萃炼与同情》

When Grandmother came to visit us from Manila she couldn’t be around the Japanese people. Only once she recounted to my mother the horror of the Japanese occupation of the Philippines
当祖母从马尼拉来看我们时,她无法忍受与日本人待在一起。只有一次,她向我母亲讲述了日本占领菲律宾的恐怖


During the massacre of innocents
their favorite method of killing was the bayonet

在对无辜者的屠杀中

他们最喜欢的杀戮方式是刺刀

The hotels in downtown Manila were turned into rape camps they would take women and girls there after they were forced to bury their children, siblings, and neighbors in mass graves

马尼拉市中心的酒店变成了强奸营,他们会把强迫将自己孩子、兄弟姐妹和邻居埋葬在乱葬坑里的妇女和女孩带到那里

Hospitals were set afire after patients were strapped to their beds

病人被绑在病床上后,医院被纵火

Pregnant women were raped and their stomachs were ripped open with bayonets

孕妇被强奸,她们的肚子被刺刀割开

Their unborn children drowning in sunlight streaming in from the broken walls and shattered windows

他们未出生的孩子淹没在从破败墙壁和破碎的窗户射进来的阳光中


Extraction and Compassion 萃炼与同情

2020年作 油彩 粉彩 亚克力 水粉 画布 201 × 145 cm.

Courtesy:Modern Art

↑作品细节↓

© Justin Caguiat


"O you dig and I dig, 

and I dig towards you,
on our finger the ring awakes"

「哦,你挖,我挖,我朝你挖,
我们手指上的戒指苏醒了」

In our apartment in Tokyo she made a room for herself in the closet.

在我们东京的公寓里,她在衣柜里为自己腾出了一块地方。

She was a devout Catholic, she could speak to spirits

她是个虔诚的天主教徒,她能和鬼魂对话

She was the matriarch of my grandfathers second and illegitimate bastard family.

她是我祖父第二个私生子家族的女族长。

Grandfather died when mother was one years old, he played piano for the silent films and was a photographer

祖父在母亲一岁时去世,他曾为无声电影弹钢琴,也是一名摄影师

Mother was the youngest and 13th child.

母亲是最小的,也是第13个孩子。

when grandfather died, suddenly they were were poor; he had left them nothing

祖父去世后,他们突然陷入贫穷;他什么也没给他们留下


They lived in a tiny garage and slept on the floor in rows they moved dwellings frequently my
Mother often didn’t have enough food to eat. Her first job was cleaning public toilets

他们住在一个小车库里,睡在地板上,他们经常搬家
妈妈总是没有足够的食物吃。她的第一份工作是打扫公共厕所


In Tokyo people always asked me if my mother was a maid

在东京,人们总是问我妈妈是不是女佣

the echo of the occupation evolved with the diaspora after the colonization and military campaigns of the Spanish, Japanese, and Americans

在西班牙人、日本人和美国人的殖民和军事行动之后,随着侨民的散居,占领的回声逐渐形成

The Filipina maids of Tokyo are the kindest most hard working people

东京的菲律宾女佣是最善良、最勤奋的人


When my grandmother died she left my mother her golden crucifix.

我祖母去世时,把她的金十字架留给了我母亲。

My mother later gave the crucifix to me,

我母亲后来把十字架给了我,


and after a year my father kicked my grandmother out and sent her back to Manila

一年后,我父亲把我祖母赶了出去,把她送回了马尼拉


They had a broken television in the room and the picture was in black and white. We would watch TV and my Grandmother was happy and said it reminded her of the past.

他们房间里有一台坏了的电视机,画面是黑白的。我们会看电视,我的祖母很高兴,说这让她想起了过去。


"Branches Flower Windows"

《树枝花窗》

walking down quiet streets of my Tokyo

走在东京安静的街道上

I love the moss covered cinder block walls and overgrown gardens of ferns, parks and Shinto temples and under the shade of trees everywhere,

我喜欢青苔覆盖的煤渣砖墙和杂草丛生的蕨类植物花园、公园和神道教寺庙,以及走进到处都有的树荫下

ponds and streams reflecting viridian glow, small waterfalls and stone pathways. Moss grows everywhere

池塘和溪流反射着翠绿的光芒,小瀑布和石头小径。苔藓到处生长

Sleepy stray cats and small fields of dirt and wild grass. The hollows of bushes littered with the skeletons of cicadas at the end of summertime and in every apple lays a fetus curled asleep

昏昏欲睡的流浪猫和小块的泥土和野草。夏末的时候,灌木丛的空洞里散落着蝉的骨架,每个苹果里都躺着一个蜷缩着睡着的胎儿

There is no land more beautiful

没有比这更美丽的土地了

fields of rice paddies from the train window on the outskirts of the city

从城郊的火车窗口看到的稻田

the wind shakes and branches flower windows

风摇枝花窗

personalities whistle out of these sectors of apples that are made to be regenerated

个性从苹果的这些部分中吹出来,这些部分是用来再生的


Ever-present crows calling from the trees, pockets of nature surrounded by hyper-evolved architecture and a totalized homogeneity.

随处可见的乌鸦在树上鸣叫,大自然的口袋被超进化的建筑和整体的同质性所包围。

Animism and fascism are alive and vital here, but now the Japanese are pacifists.

万物有灵论和法西斯主义在这里很活跃,但现在日本人是和平主义者。


Branches Flower Windows 树枝花窗

2020年作 油彩 水粉 铅笔 画布 200.5 × 144 cm.

Courtesy:Modern Art

↑作品细节↓

© Justin Caguiat


"The Approach of Beauty

its Body was Fungible"

《从美的角度说, 

它的身体是可替代的》

Starting when I was 13 years old I used to sneak out of my house at night.

从13岁开始,我就经常在晚上偷偷溜出家门。

My older sister was secretly taking LSD everyday and going to school, an exercise in appearing to be normal while her mind pushed against the boundaries of reason

我的姐姐每天都偷偷地服用LSD麻醉药并去上学,这是一种让自己看起来很正常的练习,但她的思想却突破了理性的界限

I would leave at around 1 in the morning after everyone was asleep.

我会在凌晨1点左右大家都睡着后离开。

Wandering around, sometimes walking as far as Shibuya or Harajuku or to an unfamiliar neighborhood

四处游荡,有时走到涩谷或原宿,或者走到一个不熟悉的社区

I would break into apartment buildings and go to the rooftops and sleep there.

我会闯进公寓楼,爬到屋顶上然后睡在那里。

I sleep in parking lots and in nooks in between buildings, hidden places underneath stairwells and behind ventilators and generators whole lifetimes of how we love the escape

我睡在停车场、建筑物之间的角落、楼梯井下面的隐蔽地方、通风机和发电机后面,一辈子都在想我们有多喜欢逃避

Forgotten atoms cradled in sweet music and the laughter of our memory of the buildings dropping seeds

被遗忘的原子笼罩在甜美的音乐和我们对建筑物掉落种子的记忆的笑声中

Radiant spheres contain their hidden appearance to take the form of different species in the future

发光的球体包含着它们隐藏的外表,以在未来采取不同物种的形式

Growing variegated subjects decay into a lonely view that the preachers of passion have seen through their vector making melody

不断增长的杂七杂五的事物,在激情的传道者透过它们的媒介所形成的旋律所看到的,渐渐变成了一种孤独的景象


meted out in pleasure the lyrics recorder quickly to their passing pain

在快乐中发出的歌词记录了他们逝去的痛苦


to the approach of beauty its body is fungible

从美的角度说, 它的身体是可替代的

2020年作 油彩 麻布 192 x 259 cm.

2023苏富比纽约, 成交价:$ 787,400

Courtesy:Modern Art

↑作品细节↓

© Justin Caguiat


"Anal Staircase of the Eye Reflected in the Fingernail"

《反映在指甲上的眼睛的肛门阶梯》

They began to sleep walk and hallucinate. Floating above their body:

他们开始梦游,产生幻觉。漂浮在他们身上的:

walking around the apartment at night,
talking uncontrollably

晚上在公寓里走来走去,
说话不受控制


Its psychotic dream state remember waking up on the floor of the bedroom,

它的精神错乱的梦境状态记得在卧室的地板上醒来,

The walls and ceiling slowly began to shrink,
Shrinking to the point of a needle, the point was a pupil,

墙壁和天花板开始慢慢缩小,
缩小到针尖,针尖是一个瞳孔,

They were trapped inside the pupil, the pupil was the coffin.

他们被困在瞳孔里,瞳孔就是棺材。


Splash water on their face to wake them up, the knock on the head sent us reeling, I’m relieved to find him sleeping.

给他们脸上泼水把他们弄醒,头上的敲击声把我们弄晕了,我发现他睡着了,就放心了。

Its safe to be here while I was dreaming I kept forgetting I am living as todays reflection.

在这里是安全的,当我在做梦的时候,我总是忘记我活在今天的倒影中。
I was watching everything,

我看着一切,

I was watching my body moving dislocated from its host,

我看着自己的身体从宿主身上脱臼,

I was moving from room to room like a fly on the wall, I was walking and talking like a living doll.

我从一个房间搬到另一个房间,就像墙上的一只苍蝇,我走路和说话就像一个活着的洋娃娃。


Anal staircase of the eye reflected in its fingernail

反映在指甲上的眼睛的肛门阶梯

2019年作 油彩 麻布 250.6 x 221.8 cm.

Courtesy:Modern Art

© Justin Caguiat


"The Saint is Never Busy"

《圣人永不忙》

I cry because hes dying, now hes dust an older shade of green across my eyes turns to red dust of the heart. now how to keep out of hell are the wheels that are turning, he used to be so violent but now so enfeebled yet

我哭泣是因为他快要死了,现在他在我的眼睛上撒下了一层古老的绿色阴影,变成了心上的红色灰尘。现在如何才能远离地狱,轮子在转动,他曾经那么暴力,现在却如此衰弱

His eye still holds violence, his other eye is blind and

他的一只眼睛仍然充满暴力,另一只眼睛却失明了,而且

He has to wear a diaper

他得穿尿布


The wheels of the sun its done but dont forget about its shadowy child,

太阳之轮已经完成,但不要忘记它的影子孩子

For its picture you hate to keep

因为你不愿保留它的照片

even though it always lives

即使它永远鲜活

developed the horror of an idea that wears you unrendered,

产生了一种恐怖的想法,这种想法会让你感到不舒服,

Its been 14 years

已经14年了

its paralyzed brilliant doors are locked forever,
out of waves of memories life times locked.

它那瘫痪的辉煌之门永远锁着,
一波又一波的回忆被一生的时光锁住。


He looks old

他看起来很老

He walks so slowly, he shuffles from room to room compulsively the dementia atrophied brain

他走得很慢,强迫性地从一个房间拖到另一个房间,痴呆症萎缩的大脑


He doesn’t remember anything about me. He knows I am his son but nothing else, no memories

他不记得我的事了。他知道我是他的儿子,但没有别的,没有记忆

I am a shadow in the periphery of his mind.

我是他思想边缘的一个影子。

My mother hid the kitchen knives just in case

我妈妈把菜刀藏起来,以防万一


He thinks its the year 1999, a maddening coincidence to the primal year of my reveries.
I came to London and went to see him, who had returned to where he grew up in Wales

他认为现在是 1999 年,这与我最初的遐想年份真是令人抓狂的巧合。 

我来到伦敦去看他,他已经回到了他在威尔士长大的地方


Mother sleeps with the house keys under her pillow and a change of clothes and money in case he becomes violent and she needs to escape

母亲睡觉时把钥匙放在枕头下,带着换洗的衣服和钱,以防他在变得暴力时她需要逃跑

He threatens her when he doesnt recognize her and she has to hide

当他不认识她时就会威胁,她不得不躲起来

Crushed by her burden I see it in her face

被她的重担压垮了,我从她的脸上看到了这一点


Of course it wasnt supposed to end like this
He refers to himself in the plural.

当然不应该是这样结束的
他用复数来称呼自己。

pointing to his head

指着他的头

Trapped in the year 1999, wandering amongst the reveries of whose youth?

困在1999年,徘徊在谁的青春的遐想中?


The saint is never busy 圣人永远不忙

2019年作 油彩 麻布 217.2 × 284.5 cm.

Courtesy:Modern Art

↑作品细节↓

© Justin Caguiat


"The Synthetic

Memory Forming"

《合成记忆的形成》

We are in California now.

我们现在在加州。

Its peaceful here. New York seems so far away. Here in the Bay Area there are lots of crows, whom I love. They remind me of Tokyo.

这里很宁静。纽约似乎很遥远。在湾区这里有很多乌鸦,我喜欢它们。它们让我想起了东京。

Our son dances in the sun and in the water
an ant to the outsider sea.

我们的儿子在阳光下和水里跳舞
对比外面的大海就像一只蚂蚁。


We have cut a silly figure against the walls

我们在墙边刻了一个可笑的身影

crumbling cake with all our bags

所有的包裹就像碎蛋糕

A cigarette in my mouth

我嘴里叼着一支烟

my hat is lost against the orbing sun

我的帽子被太阳晒没了

the light is confusion.

光是混乱因素
This is my last song you yell across

这是我最后一首你大唱的歌

laughing after the pale band where you removed your golden ring.

嘲笑你摘下金戒指后留下的白色痕迹

The sun is chasing your tanned skin

阳光追逐着你晒黑的皮肤

your fingers fan across the buildings in the sand

你的手指在沙滩上扇动着建筑物

optical trails waving against their warped angles

光尾在弯曲的角度下摆动


The synthetic memory forming 合成记忆的形成

2020年作 油彩 麻布 152 × 221.5 cm.

Courtesy:Modern Art

© Justin Caguiat


"Ive got nothing but reason left behind"

「我一无所有,只剩下理智」

Events are tiny earthquakes constantly reorienting the same set of histories

事件是不断改变同一组历史的微小地震

but for now every one here is perfect

但现在这里的每个人都很完美

standing dreamlike and frozen under the blue sun

站在蓝色的太阳下,像做梦一样,一动不动


A huge mob of crows, in the early hours of the morning on the way back home, that sent me weighing sleep against a walk around the block

凌晨回家的路上,一大群乌鸦让我在睡觉和在街区散步之间权衡

I turned away and fled as they knocked over the trash cans,

当他们打翻垃圾桶时,我转身逃跑了,

The contents strewn like intestines on the street, nourished by the abundance, crying in unison

食物像肠子一样散落在街上,丰盛滋养,齐声哭泣


When the wandering fire
Strikes the heart of stone

当流浪的火
击中铁石心肠

Will you follow?
Will you leave your home?
Will you leave your life?
Will you take the Longest Road?

你会跟着吗?
你会离开家吗?
你会离开你的生活吗?
你会选择最长的路吗?



Mondrian Fan Club 蒙德里安粉丝俱乐部

2020年作 油彩 水粉 麻布 182.9 × 243.8 cm.

Courtesy:Modern Art © Justin Caguiat

似是而非的形象无法定义的身份

在从「文」到「画」的转述过程中

Caguiat也不断迭代混合技法


他使用铅笔油彩粉彩

通过堆叠分层擦除建立表面


模块互融代表着一种流动状态

也正是二元消亡的当下

存在主义最无助的危机

Child Cooperating with Chance 与机遇合作的孩子

2020年作 油彩 画布 244 × 164 cm.

Courtesy:Modern Art © Justin Caguiat


Step to Enchantment 走向魔法

2020年作 油彩 画布 223.5 x 375.9 cm.

Courtesy:GREENE NAFTALI © Justin Caguiat

而对于画面观赏的开放包容

Caguiat更是亲身践行「距离感


除了在2018年展览时的散文附注

几乎从不透露任何指向性引导陈述

Doll 1 Narcotic 娃娃1麻醉剂

2020年作 油彩 水粉 亚克力 麻布 183 x 244 cm.

Courtesy:GREENE NAFTALI


Doll 2 Philopon 娃娃2希洛苯

2020年作 油彩 水粉 麻布 190 x 249 cm.

Courtesy:GREENE NAFTALI


Doll 3 Eros

娃娃3厄洛斯 

2020年作

油彩 水彩

粉彩 画布

183 x 183 cm.

2022富艺斯纽约

成交价:

$ 504,000

Courtesy:GREENE NAFTALI

Doll 4 Mongrel

娃娃4杂种

2020年作

油彩 水粉 画布

183 x 183 cm.

Courtesy:Taka Ishii Gallery, Tokyo. Photos by Kenji Takahashi.

© Justin Caguiat

无法找到哪怕一句「艺术家宣言」

甚至连其个人信息也是凤毛麟角


高矮胖瘦?性别取向?

教育背景?家庭结构?


或许在Caguiat的理念里

无谓「标签」只是干扰因素


不蹭身份红利、没有耸动观念

千人千面」是看画者的自由

也是当今艺术生态里难能的纯粹

That sent me weighing sleep against a walk around the block

这让我在睡觉和

在街区散步之间权衡 

2020年作

油彩 麻布

216 x 156.5 cm.

Courtesy:Modern Art


Patron saint of anomalous persons (blue)

异常人的守护神 (蓝)

2020年作

油彩 水粉 麻布

180 x 132 cm.

Courtesy:GREENE NAFTALI



Conditioned Melody

Generation

有条件的旋律生成

2020年作

油彩 水粉 亚克力 画布

178 x 127.8 cm.

Courtesy:Modern Art


Patron saint of anomalous persons (yellow)

异常人的守护神 (黄)

2020年作

油彩 亚克力 水粉 麻布

180 x 132 cm.

Courtesy:Taka Ishii Gallery, Tokyo. Photos by Kenji Takahashi.



Gas Panic (Blue)

煤气恐慌 (蓝)

2020年作

水粉 画布

241.3 x 177.8 cm.

Courtesy:GREENE NAFTALI

Souvenir 纪念品

2021年作 胶画颜料 油彩 麻布 295 x 216.2 cm.

Courtesy of the artist, Modern Art, London, and Greene Naftali, New York

显然,站在看画者视角

Caguiat的精湛技法确属高明


就像2022年

达拉斯The Warehouse

为其举办的个展序言中所述


「Caguiat在未拉伸的画布上精心渲染的大型绘画描绘了一个由具象和抽象人物与造型组成的宇宙,具有丰富的色调和分层的表面,似乎漂浮在记忆和想象的梦幻世界中。艺术灵感来自于高级或庸俗的视觉历史,既成熟又具有探索性。 」


"Caguiat's intimately rendered, large-scale paintings on unstretched canvas portray a universe of figures and forms - representational and abstract - with a rich palette and layered surfaces that seem to float in a dreamlike world of memory and imagination. Artistic inspirations abound from opulent visual histories high and low, at once mature and exploratory."



The Hanged Man 吊人

2021年作 胶画颜料 油彩 麻布 300.4 x 224.2 cm.

Courtesy of the artist, Modern Art, London, and Greene Naftali, New York © Justin Caguiat


The Snail 蜗牛

2021年作 胶画颜料 油彩 麻布 224.2 x 300.4 cm.

Courtesy of the artist, Modern Art, London, and Greene Naftali, New York © Justin Caguiat


Mercury Station 水星站

2021年作 胶画颜料 油彩 麻布 224.8 x 300.4 cm.

Courtesy of the artist, Modern Art, London, and Greene Naftali, New York © Justin Caguiat



Waiting is a Disease 等待是一种疾病

2021年作 胶画颜料 油彩 麻布 223.5 x 300 cm.

Courtesy of the artist, Modern Art, London, and Greene Naftali, New York © Justin Caguiat


Feeling is God 感受即上帝

2021年作 胶画颜料 油彩 麻布 225.1 x 409.6 cm.

The Rachofsky Collection

© Justin Caguiat


「通过一整套的构图、色相、色调,这些作品提供了一系列情绪和视觉,引领观众走向艺术家在大流行期间进行的迷人探索。」


"Through a range of compositions, hues, and tonalities, these works offer a range of moods and vision that take the viewer down an engaging path of exploration undertaken by the artist during the pandemic."



California 加利福尼亚

2021年作 油彩 酪蛋白 麻布 335 × 427 cm.

Courtesy:Modern Art © Justin Caguiat



Solar Anus

太阳能肛门

2021年作

胶画颜料

油彩 麻布

216 x 212 cm.

225.1 x 222.3 cm. (F)


Gretel in Pharmakon

格蕾特在法玛康

2022年作

油彩 水粉 麻布

艺术家原配框

335.3 x 317.5 cm.

345 x 331 x 8 cm. (F)


Intuition of

the Ecstasy

狂喜的直觉

2022年作

油彩 水粉 麻布

艺术家原配框

330.2 x 321.3 cm.

339.1 x 328.9 x 5.1 cm. (F)


Nirvana 涅槃

2022年作 油彩 水粉 麻布 艺术家原配框

321.3 x 375.9 cm.; 328.9 x 385.4 x 5.1 cm. (F)

纽约 巴德学院 Marieluise Hessel Collection

Hessel Museum of Art, Center for Curatorial Studies, Bard College 藏

© Justin Caguiat

但就像近一个世纪以前的克里姆特

毋庸置疑的「诱人」感

仍难免让许多寻求深度的评论家

毫不留情扣上「谄媚装饰」的帽子


「但它们也非常性感,或许因为其淫秽过度有品、以及展示了多少浪漫媚俗的堕落。」


"But it's also very seductive, and perhaps so because how obscenely, excessively tasteful it is, and how much romantic kitsch decadence is on show."



Infiltrating Substance of Appearance 外观渗透物质

2022年作 油彩 水粉 麻布 艺术家原配框

215.9 x 284.5 cm.;226.1 x 299.7 x 5.1 cm. (F)

Courtesy:GREENE NAFTALI © Justin Caguiat


Daisyworld 雏菊世界

2022年作 油彩 水粉 麻布 艺术家原配框

321.3 x 412.8 cm.; 332.7 x 421.6 x 5.1 cm. (F)

Courtesy:GREENE NAFTALI © Justin Caguiat


Proportionality 比例性

2022年作 油彩 水粉 麻布 艺术家原配框

215.9 x 282.8 cm.;224.5 x 295.9 x 5.1 cm. (F)

Courtesy:GREENE NAFTALI © Justin Caguiat

的确,如想要在展览中寻求认同

未加解释的纯美或许单薄


但若笃信绘画核心仍是「手艺」

打破抽象与具象的纹饰狂欢

何不算回归本质的纯粹创想


看画是需要亲身参与的浸润体验

面对如神秘丛林般的繁复构图

或许我此刻的文字,你手里的屏幕

隔空探「雾」,也只是苍白


I Love Him

我爱他

2022年作

油彩 水粉 麻布

艺术家框

332.7 x 320 cm.

340.4 x 330.2 x 5.1 cm.

Courtesy:GREENE NAFTALI © Justin Caguiat


Pissing in the Stars 对着星星撒尿

2022年作 油彩 水粉 麻布 248.3 x 328.3 cm.

Courtesy:Modern Art © Justin Caguiat


Cupio Dissolvi 库皮奥·迪索维

2022年作 油彩 麻布 艺术家原配框

323.9 x 238.8 cm.;332.7 x 248.9 x 5.1 cm. (F)

Courtesy:GREENE NAFTALI © Justin Caguiat

而如果你会担心

他会和许多当代抽象艺术家一样

套用模式,开启自我复制无限循环


Caguiat其实也在呈现维度上

不断酝酿新的尝试

👇🏻

运用热变色颜料

让画面在不同温感下呈现变幻样貌

Hysteresis Loop 滞后回路

2022年作 热变色颜料 石蜡乳剂 亚克力聚合物乳剂 电子温控感应器 辐射热衬底 铝 183.2 x 244.2 x 3.8 cm.

89华氏度=31.7摄氏度时↑画布颜色

80.7华氏度=27.1摄氏度时↓画布颜色

Courtesy:GREENE NAFTALI © Justin Caguiat

2023年的新创作

👇🏻

采用5年前刚刚确立「风格」时

一模一样的题目

并采用相似色系的更大横幅

All Flesh is Grass,

and all its Trust Like the Flowers of the Field

所有的肉体都是草, 所有的信任都像田野里的花

2023年作 油彩 水粉 麻布 艺术家原配框

217.2 x 292.4 cm.;223.2 x 477.8 cm. (F)

Courtesy:GREENE NAFTALI © Justin Caguiat

绘画前后、疫情前后

市场宠爱的前后


以阶段性「回溯」走向下一个五年

想必Caguiat和我们同样期待

自己与创作未来的样子


「所有的肉体都是

所有的信任都像田野里的花。」

"All Flesh is Grass, and all its Trust Like the Flowers of the Field."

参考资料:

PRESS RELEASE. Modern Art. Justin Caguiat‘Permutation City 1999’


Sophie Ruigrok, “What To See at Condo London 2020,” Frieze, January 10, 2020.


Th. Killian Roach, “Preface – Justin Caguiat: ‘Doll,’” Taka Ishii Gallery, Tokyo, 2021, press release, online.


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