木木新展｜「天生狂才：神迷卡拉瓦乔」即将开展 "Caravaggio: Eternal Ecstasy" a Chengdu

美术馆和艺术机构应如何保存讲述艺术遗存和历史叙事？展览「天生狂才：神迷卡拉瓦乔」聚焦画家卡拉瓦乔的旷世杰作《沉醉中的抹大拉的马丽亚》。创作于卡拉瓦乔生命的最后几年，《沉醉中的抹大拉的马丽亚》是这位尤擅展现情感张力的画家的典范之作，亦被视为西方古典绘画修复领域的范例，该作将第一次在国内亮相。

本次展览由木木美术馆协同意大利驻华大使馆文化处、意大利驻重庆总领事馆和RES联合举办。展览策划从艺术品保护和修复的学术性视角切入，由包括著名艺术品修复师辛齐亚·帕斯夸里（Cinzia Pasquali）在内的该领域专家共同展开。帕斯夸里以对凡尔赛宫镜厅和卢浮宫阿波罗长廊的修复而著称。

作品细节呈现

展览着重呈现著名巴洛克画家卡拉瓦乔（1571年出生于米兰，1610年去世）的杰作《沉醉中的抹大拉的马丽亚》，这对于成都的观众来说将是一次欣赏卡拉瓦乔原作的珍贵机会和难忘体验。

此外，展览也将通过公教性的展陈设计和一系列工作坊，构建起有关艺术品修复的交流平台，旨在使观众对画作修复过程中的各个步骤和阶段形成更全面、深入的了解。

现场修复图

本次展览还将特别纳入木木美术馆馆藏特别单元，从文物修复的视角对馆藏克孜尔石窟的重要文物展开深入探究，旨在探讨艺术机构在保护历史遗存和叙事中的角色和职责。展览藉此引导观众重新思考我们应如何看待过去，通过对中西方文物修复理念的比较性研究，揭示西欧和东亚之间哲学思想和观念的差异。

克孜尔石窟位于丝绸之路北线的塔克拉玛干沙漠古龟兹文化，是最早传入我国的佛教艺术的典范。展览以比较分析的方式，搭建起早期泛亚洲的宗教哲学艺术与卡拉瓦乔的巴洛克杰作之间搭建起了对话的桥梁。

《五髻天人》

克孜尔石窟壁画

公元5-6世纪

木木美术馆收藏

卡拉瓦乔的《沉醉中的抹大拉的马丽亚》根植于巴洛克传统，其强烈的情感和身体表达展现出富于戏剧性的现实主义。而东方对涅槃的描绘则受到古印度、古希腊罗马、波斯、汉唐等多种文明的影响，强调宁静平和的精神境界和世俗的解脱，与之形成了强烈反差。

《沉醉中的抹大拉的马丽亚》

1606年 布面油画

107x98.5 厘米

私人收藏

目前已知卡拉瓦乔的晚期作品仅有少量存世，国内的观众将有机会在本次展览中一睹其晚期创作的真容。此前该作仅有数幅后人的临摹作品存世，直至2014年原作才出现于公众视野之中，并被当今在世最著名的卡拉瓦乔专家米娜·格里高利（Mina Gregori）鉴定为真迹。《沉醉中的抹大拉的马丽亚》是卡拉瓦乔在生命最后前往埃尔科莱港的旅程中带在身上的画作之一。画布背面发现了一张留有17世纪字迹的短笺：“在基亚亚（Chiaia）的卡拉瓦乔所绘仰身倚靠的抹大拉，为罗马红衣主教博尔盖塞（Cardinal Borghese）效劳”。抹大拉的马丽亚时常出现在卡拉瓦乔的画作中，对她的刻画暗示了画家在其颠沛动荡的一生中渴望为其罪行赎罪并获得赦免的一次次尝试。

机构伙伴：意大利驻华大使馆文化处

意大利驻重庆总领事馆

官方伙伴：RES

机构支持：意大利驻华大使馆（北京）

Caravaggio: Eternal Ecstasy

July 27 - October 27, 2024

Curated by Ashley Vidler and Victor Wang

M WOODS Chengdu (People’s Park)

How do museums and art institutions preserve historical artworks and narratives? The exhibition, titled Caravaggio: Eternal Ecstasy, centers on Caravaggio’s masterpiece painting Magdalene in Ecstasy, presented for the first time in China. This priceless example of Caravaggio’s profoundly emotive compositions, crafted during the twilight of his life before his death in 1610, acts as the cornerstone for an in-depth examination of the methodologies and practices employed in the restoration, conservation, and preservation of artistic masterpieces.

This exhibition is uniquely curated as a scholarly endeavor – orchestrated by specialists in the field, including renowned art restorer Cinzia Pasquali, famed for her work on the Hall of Mirrors at Versailles and the Apollo Gallery at the Louvre, and is organized by the Italian Cultural Institute of Beijing, the Consulate General of Italy in Chongqing, M WOODS museum and RES. Locked into a local dialogue through the integration of seminal artifacts from The Kizil Grottoes (3rd-8th century AD), which are part of the M WOODS museum collection, this exhibition transcends its aesthetic appeal to serve as an engaging educational experience. It aims to challenge local audiences in China to consider and rethink how we engage with the past, offering a comparative perspective on these critical approaches to restoration and highlighting the distinct philosophical divergences between Western Europe and East Asia.

Using renowned Baroque painter Michelangelo Merisi da Caravaggio, born in Milan in 1571 and deceased in 1610, and commonly known as Caravaggio, as a focal point, this exhibition will showcase the masterpiece, Magdalene in Ecstasy. This exhibition promises to be an invaluable asset for our audiences in Chengdu, offering the opportunity to experience the painting firsthand. Additionally, it will act as a forum for examining and studying the artwork through a series of workshops and educational displays. These initiatives are designed to impart comprehensive information concerning the various stages and processes involved in the restoration of this pivotal masterpiece.

In the context of China, the exhibition enriches its scope by incorporating pivotal relics from The Kizil Grottoes, thus broadening and localizing the thematic focus on cultural continuity from a non-European perspective. M WOODS’ Artistic Director Victor Wang has also included additional artifacts from the collection to underscore the historical importance of the Kizil Grottoes, alongside contemporary works that illustrate the varying cultural interpretations of transcendental experiences. Caravaggio’s Magdalene in Ecstasy, with its intense emotional and physical expressions, is rooted in the Baroque tradition of dramatic realism. This is contrasted with the Eastern portrayal of Nirvana, or enlightenment, which emphasizes a serene and detached state of spiritual and worldly liberation, and itself represents a unique blend of influences from ancient Indian, Greco-Roman, Persian, and Han and Tang civilizations. The Kizil Grottoes, located within the ancient Qiuci Kingdom’s territory along the northern route of the Taklamakan Desert in the Xinjiang section of the Silk Road, represent some of the earliest examples of Buddhist art in China. This setting invites a nuanced comparative analysis of early Pan-Asian religious and philosophical art forms alongside Caravaggio’s Baroque masterpiece.

Only a few paintings from Caravaggio's later years remain, presenting a unique opportunity to view one of his most enigmatic works. While numerous copies of Magdalene in Ecstasy exist today, this particular version, authenticated in 2014 by Mina Gregori, is regarded as the true original. It is believed to be the painting Caravaggio had with him on his final journey to Porto Ercole. On the back of the canvas, a note in seventeenth-century handwriting was discovered: “Madalena reversa di Caravaggio a Chiaia ivi da servare pel beneficio del Cardinale Borghese di Roma” (Magdalene on her back by Caravaggio in Chiaia to serve for the benefit of Cardinal Borghese of Rome). A recurring figure in Caravaggio’s body of work, Mary Magdalene symbolizes his own tumultuous life, marked by desperate attempts to seek forgiveness for his transgressions.

• Institutional Partner: Italian Cultural Institute of Beijing, and
 Consulate General of Italy in Chongqing, Embassy of Italy to P.R.C.

• Official Partner: RES

• Institutional Support: Embassy of Italy to the P.R.C. 

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