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
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「形」
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)」
👇🏻
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,是毁灭与重生的临界态
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上
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
点、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
The Green Eye of Spring 春天的绿色眼睛
On The Marionette Theater 在木偶剧院
美学结构上
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、打磨轮廓时
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.
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里
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.
"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.
"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.
"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.
"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.
"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.
"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.
"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.
Doll 2 Philopon 娃娃2希洛苯
2020年作 油彩 水粉 麻布 190 x 249 cm.
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.
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年初
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.
「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
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
「所有的肉体都是草,
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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