米利亚姆·卡恩 Miriam Cahn
《原子弹 04.02.1988》 Atombombe 04.02.1988, 1988
143 x 121.5 cm
纸上水彩 watercolor on paper
CAH/D 1006
4325
BROWNIE Project 与乔斯林·沃尔夫画廊（Galerie Jocelyn Wolff）非常荣幸地宣布，我们联合举办的展览《Per-Form 每种形式》将于2023年3月18日在 BROWNIE Project 画廊空间开幕。
《Per-Form 每种形式》将展出来自乔斯林·沃尔夫画廊和 BROWNIE Project 画廊联合带来的十位艺术家的共25件作品，以不同的媒介和形式，从六十年代的历史性作品到近年的新作，共同探讨在移除了人作为表演要素后，怎样使作品本身呈现出表演的特性。
弗朗茨·艾哈德·沃尔特 Franz Erhard Walther
《与第1号系列作品的第57号单一元素产生关系的绘画》
Werkzeichnung in relation to single element n ° 57 of 1.Werksatz, 1968/1970
30 x 21 cm
水彩、色铅笔、铅笔、碳棒、纸上水粉
双面右下角签名、签日期、双面绘画
watercolour, colour pencil, pencil, carbone,gouache on paper
each side is signed and dated at the bottom right, double sided drawing
FEW/D 125
FEW-321
“并不是来自过去的光照到了现在，也不是现在的光照到了过去；相反，意像是在一瞬间与现在一同形成一个星座。换句话说，意像在停滞中是辩证的。在这其中，现在之于过去的这种关系是完全暂时、连续的；曾经与现在的这种关系是辩证的：这不是一种向前的进展，而是意象，在瞬间萌发出来。只有辩证的意象才是真实的意象（也就是非古老的），遇到这种意象的场所就是语言。”
沃尔特·本雅明（《拱廊街计划》，1927-1940）
晚年在巴黎居住的本雅明看到拱廊街的玻璃拱廊商业区之后受到启发，对它们精致的钢结构和玻璃造型着迷，认为它们精美的形态和华丽的橱窗恰巧反应了时下的消费主义。对于什么是真实的、什么是捏造的，本雅明对此进行了进一步的思考，他联想到了文字历史的真实性和目的。于是，他延伸了黑格尔的辩证意象（dialectical image）概念，认为辩证意象相比文字书写的历史，是更加重要的要素，就像引言中所说的，辩证意象连接着过去与现在，在“此刻”形成一个星座。在纵向坐标上，辩证意象在清醒与做梦之间中立；在横向坐标上，辩证意象在固化属性与瞬间属性之间中立。它是理性的、逻辑的、非幻想的理想意象，游离在自然历史、神话、遗迹废墟之外，同时它也居于各种二元对立的张力拉扯下的中心。文字历史因书写者的非主观性而变得不可靠，因此历史的衰落应该是属于意象的，而非文字的。因此，历史的真实性就存在于辩证意象之中。
薇薇安拱廊街 Vivienne Arcade (1916)
辩证意象的本质也体现在它的瞬时性之中，这与行为艺术有着暗含的关联。行为艺术对于场域和时间有着十分具体的要求，因此，它的所指在此刻便成为了理想的辩证意象。它在坐标轴上保持中立，却同时也接受来自各个视角的解读。
在这样的持续进化中，行为艺术成为了跨学科的艺术实践，从基于身体和行动的艺术形式逐渐转变为一种媒介和方法论，且拥有了各种形态，无论是从关系上的还是参与上的，还是关于物体与意象的，都逐渐被人们所认知，形成了跨学科的、基于话语的艺术运动。
迪亚戈·比安奇 Diego Bianchi
《防破坏盒》 Antivandalic Box, 2022
200 x 63 x 19 cm
纸板、防破坏涂料、亮片、铁支架（可移除)
Cardboard, anti-vandal paint, glitter, iron pedestal (removable)
DB/S 221
本展览汇集了来自世界各地的10位艺术家的作品。在形式上，它们或许是一次针对行为艺术的客观记录（郭盈光《顺从的幸福》，2016-2018），或者是以身体运动作为工具进行绘画的方法（米利亚姆·卡恩《原子弹 04.02.1988》，1988），抑或是由作品组成部分构成的一出独幕剧（普林茨·古拉姆《奥斯提亚》，2020-2021），或是用电视机包装盒这样的现成物创作的抨击消费主义和大众媒体的装置（迪亚戈·比安奇《防破坏盒》，2022），这也是展览标题将perform (表演)拆分为 per-form (每种·形式)的缘由。将以人/表演者为主体的行为艺术的边界拓宽，以多样性的媒介来呈现表演属性。让属于表演者之间的戏剧张力转变为作品之间或作品组成部分之间的张力，从而独立地叙事。
普林茨·古拉姆 Prinz Gholam
《奥斯提亚》 Ostia, 2020-2021
50件石料总体尺寸 50 elements
Overall: 260 x 50 cm (approx.)
石料 Stones
PGH/S 6
同时，我们也能看到以特异材质模拟真实物件并致敬古代桌面游戏和博弈论的作品（弗朗西斯科·特洛巴《太空游戏》，2019），前卫艺术先锋的观念艺术双面绘画系列（弗朗茨·艾哈德·沃尔特，1967-1970），以织物戏谑消费主义和流行文化（伊萨·梅尔茨海默《金发女郎》，2009）的装置作品，用船桨化为肘部的大型装置（高磊《折断胳膊之中》，2017）。同时，圣地亚哥·得·保利以一组非传统媒介毛毡作为画布的油画作品呈现的是图像上的隐喻和视觉双关，艾洛蒂·塞金以几何体和商品包装的形式（《约束 B》，2021）探讨纯粹的形式与关系。
（撰文/卜生）
伊萨·梅尔茨海默Isa Melsheimer
《金发女郎》Blondie, 2009
227 x 40 cm
布料、珍珠、铁丝、有机玻璃
fabric, pearls, wire, plexiglass
孤品 Unique
MEL/S 78
高磊 Gao Lei
《折断胳膊之中》In Middle of the Broken Arm, 2017
600 x 20 x 5 cm
木质旧船桨，黄铜合页，螺丝钉
Aged wooden paddle, brass hinge, screw
艾洛蒂·塞金 Elodie Seguin
《约束 B》 Contrainte B, 2021
两部分构成 2 elements,
整体尺寸 overall : H8 x 96 x 71.5 cm
1/2 : H8 x 71.5 x 48 cm
2/2 : H4 x 71.5 x 48 cm
保温亚克力、中密度纤维板、油墨、聚氨酯涂料
Thermoformed acrylic, MDF, ink, polyurethane paint
孤品 Unique
SEG/S 156
郭盈光 Guo Yingguang
《今天是昨天的明天》Today is Tomorrow of Yesterday, 2022
130 x 100 cm
蛋壳，木板，毛毡
Egg shell, wooden panel, wool felt
圣地亚哥·得·保利 Santiago de Paoli
《白月亮》White Moon, 2020
51 x 45 cm
毛毡上油画 oil on felt fabric
SDeP/P 184
迪亚戈·比安奇
Diego Bianchi
迪亚戈·比安奇于1969年生于阿根廷的布宜诺斯艾利斯，目前也在此工作生活。比安奇的作品经常由视觉上具有强烈冲击力的材料所组成，包括收集来的废弃物，例如椅子、管子、电子设备、仿真身体部位等。他的创作包括雕塑、装置、录像、摄影以及行为表演，通过不同的媒介去检验审美常态和社会政治学议题。他关注的话题也包含了严肃题材和消费主义最疯狂的现象等等，特别是新自由主义经济模式崩溃后带来的重创。比安奇作品中最主导的一个主题就是使用人的身体作为艺术和构建的元素。他将日常生活的情况放大到极致，例如，过剩的人口带来的灾难和由此造成的无政府主义的秩序。
他一生中获得了大量的奖项，包括国家艺术基金阿兹库视觉艺术大奖，现代艺术美术馆，2019. 他近期的展览包括 Syntactic Tactic, 五月二日艺术中心，马德里，西班牙，2022; 行为艺术双年展 2021, 国立美术馆（MNBA），布宜诺斯艾利斯，阿根廷，2021; Sauvetage Sauvage, 乔斯林·沃尔夫画廊，罗曼威尔，法国，2020; The Stomach and the Port, 第11届利物浦双年展，利物浦，英国，2020; 科尔多瓦双年展，阿根廷，2019.
Diego Bianchi was born in 1969 in Buenos Aires, Argentina, where he still lives and works. Bianchi’s work is made up of visually transgressive materials, gathering together discarded objects such as chairs, pipes, electronic devices, or casts of body parts. His practice includes sculptures, installations, video art, photographs and elements of performance, which examine aesthetic norms as well as socio-political subjects. The artist focuses on the formal and mostly chaotic traces of consumerism, specifically the fallout of neoliberal economic damage. One of the dominant themes in Bianchi's work is the use of the human body as an artistic and constructive element. He proposes an apotheosis of everyday situations, such as the derailment of human excess and the anarchic order it produces.
Amongst other grants and awards, he was awarded the Concurso de artes Visuales - Fondo nacional de las Artes Premio Azcuy, Museum de Arte Moderno in 2019. His recent exhibitions include Syntactic Tactic, Centro de Arte Dos de Mayo, Madrid, Spain, 2022; Bienal de Performance 2021 (B.P.21), Museo Nacional de Bellas Artes (MNBA), Buenos Aires, Argentina, 2021; Sauvetage Sauvage, Galerie Jocelyn Wolff, Romainville, France, 2020; The Stomach and the Port, 11th Liverpool Biennial, Liverpool, UK, 2020; BIENALSUR Córdoba, Argentina, 2019.
米利亚姆·卡恩
Miriam Cahn
米利亚姆·卡恩于1949年生于瑞士巴塞尔，目前工作生活在瑞士斯坦帕。卡恩的艺术创作主要集中于具象绘画，探索社会议题，表达自己对于各种形式的社会压迫的不满，并且对时下发生的各种社会议题做出回应，包括基于性别差异的暴力、移民冲突、武装冲突等。通过回应欧洲在70年代进行的女性平权运动，她在作品中让身体保持中间状态，既是主体也是艺术媒介。
她一生中获得了大量的重要奖项，例如1998年的凯绥·柯勒惠支奖，2005年的瑞士联邦文化局颁发的梅拉·奥本海姆奖，2013年的巴塞尔艺术奖，2021年的锡根市的鲁本斯奖。在1984年，她代表瑞士参加威尼斯双年展。2017年，他参加了第14届卡塞尔文献展。2022年，她的作品参加威尼斯双年展《梦想之乳》。
卡恩在全球范围内参与了大量的个展，近期的展览包括大型个人回顾展 ‘Ma Pensée Sérielle’ 巴黎东京宫，巴黎，2023; MEINEJUDEN, 锡根当代美术馆，2022; ME AS HAPPENING, 发电厂美术馆，多伦多，夏洛腾堡美术馆，哥本哈根，2021; I as Human 巡展，由慕尼黑美术馆、博恩美术馆、华沙现代艺术馆联合举办，2019; 《万物皆重要》, 雷纳·索非亚国立艺术中心，马德里，2017; körperlich/corporel, 艺术家首个个人作品回顾展，法国瑞士文化中心，巴黎，2014; “凯哈”基金会，马德里，2003.
Miriam Cahn was born in 1949 in Basel, she lives and works in Stampa, Switzerland. Cahn's artistic practice, consisting mainly of figurative painting, explores social topics related to her objection to all forms of oppression, and in reaction to current political issues including gender-based violence, migratory conflicts and armed conflicts. In dialogue with the European feminist movements of the 1970s, the body remains central in her works, both as a subject and as an artistic medium.
She has received prestigious awards and prizes, such as the Käthe Kollwitz Prize in Berlin in 1998, the Meret Oppenheim Prize of the Swiss Federal Office of Culture in 2005, Baseler Kunstpreis in Basel in 2013, and the Rubenspreis of the city of Siegen in 2021. In 1984, she represented Switzerland at the Venice Biennale. In 2017, she took part in Documenta 14 in Kassel and Athens. In 2022, her work is yet again presented at the 59th International Art Exhibition of the Venice Biennale ‘The Milk of Dreams.’
Many solo exhibitions have been devoted to her work, internationally, including ‘Ma Pensée Sérielle, Palais de Tokyo, Paris, 2023; ‘MEINEJUDEN’ at the Museum für Gegenwartskunst in Siegen in 2022; ‘ME AS HAPPENING,’ presented at The Power Plant, Toronto Canada and at the Kunsthal Charlottenborg, Copenhagen Denmark in 2021; ‘I as Human,’ a travelling exhibition in 2019 co-organised by three major institutions at the Haus der Kunst, Munich, Kunstmuseum Bern, and the Museum of Modern Art in Warsaw; ‘everything is equally important’ at the Museo Nacional Centro de Arte Reina Sofía in Madrid in 2017; ‘körperlich/corporel,’ the artist’s first major retrospective in France at the Swiss Cultural Centre in Paris in 2014; and at the Fundación ‘La Caixa’ in Madrid in 2003.
高磊
Gao Lei
高磊于1980年生于湖南长沙，目前工作生活在上海。他的艺术创作涉及装置、雕塑、摄影及绘画等各类媒介。他在创作中多借用日常 物及“标准化”的工业制品为基本元素，这些作品经由合成或抽离的规训化形态处理，在模糊、改造中被篡改或增添了功能、属性与含义，从而成为测量身体、权力、 消费与宗教等诸种领域之间的尺度与模型。通过精准的材质测试与图形的矢量化， 作品与其面临的对象及试图发出的问题一起在空间维度与观念维度中不断跳转，使 观者得以用一种经验之外的标准来重新审视与测量我们与世界固有的边界。
高磊曾于空白空间(中国北京)、阿拉里奥画廊(韩国首尔)、台北当代艺术馆等 机构举办个展，其作品亦参展尤伦斯当代艺术中心、上海民生当代美术馆、龙美术馆、 油罐艺术中心、昊美术馆、广东时代美术馆，新加坡美术馆、IVAM 现代艺术研究院(西 班牙瓦伦西亚)、Tinguely 美术馆(瑞士巴塞尔)、路德维希美术馆(德国科布伦茨)、 韩国国立现代美术馆等国际艺术机构之群展。
Gao Lei was born in Changsha, Hunan in 1980. Now he lives and works in Shanghai. Gao Lei's art practice spans multiple media, including installation, sculpture, photography, and painting. Gao often adopts everyday objects and "standardized" industrial products as the essential component, whose works are manipulated through synthetic or abstract regulatory forms, in which the functions, properties, and meanings are tampered with or added through blurring transformation. Thus, they become a scale or model for measuring various domains such as the body, power, consumption, and religion. Through precise material testing and vectorization of graphics, Gao's works, along with the objects they confront and the questions raised, alternate between spatial and conceptual dimensions, allowing the viewer to re-examine and remeasure our inherent boundaries with the world using a standard other than that of experience.
Gao's works have been the subject of solo exhibitions at White Space (Beijing, China), Arario Gallery (Seoul, Korea), Museum of Contemporary Art Taipei, etc. His works have also been exhibited in international art institutions including, Ullens Center for Contemporary Art, Minsheng Art Museum (Shanghai), Long Museum, Tank Shanghai, Hao Art Museum, Guangdong Times Art Museum, Singapore Art Museum, Institute of Modern Art (Valencia, Spain), Tinguely Museum (Basel, Switzerland), Ludwig Museum im Deutschherrenhaus (Coblence, Germany), National Museum of Modern and Contemporary Art (Korea), and others.
普林茨·古拉姆
Prinz Gholam
普林茨·古拉姆是常驻德国柏林的艺术二人组，二人分别是沃尔夫冈·普林茨、米歇尔·古拉姆。将近十年来，二人一直从事行为艺术实践，通过一系列的编舞创作，用身体来再现各种艺术上的原材料，从古代绘画、雕塑，到当代艺术、电影、媒体图像等。让人想起吉尔伯特&乔治的活雕塑，长期的合作是他们用有形的身体对周遭世界的一种解读：他们用多种姿态和手势表现出对于信息接收之后的内化过程和映射形式。二人经常在具有历史意义的场所进行表演，例如墓地或考古地，通过作品表达出我们身体所曾在的信息以及我们是如何通过脑中已存在的图像与周围世界进行体验及交涉的。除了行为艺术表演之外，二人也使用绘画和素描来描绘他们所呈现的姿态。这些预先准备好的研究也对图片的传统进行了指涉，也在他们的研究中扮演着重要角色：在不同的指涉、身体、图像本身之间进行交涉。
Prinz Gholam is a Berlin-based artist duo consisting of Wolfgang Prinz and Michel Gholam.
For nearly a decade, the duo has developed a performative practice that, through a series of choreographed sequences, aims at embodying a range of source material—from ancient paintings, sculptures to contemporary art, film and images from the media. Reminiscent of Gilbert & George’s living sculptures, the long-term collaboration revolves around a corporeal interpretation of the world around us: their various gestures and poses act as a form of mapping through the body of the array of information they internalize. Often performed in historically loaded venues, like a graveyard or an archaeological site, their work speaks of the information we carry in our bodies and how we experience and negotiate the world through images the mind already contains. In addition to their performances, the duo often uses drawings to sketch the poses that they reenact. These preparatory studies, while referencing pictorial tradition, also play a role in their investigation: a negotiation between references, and the physical and pictorial self.
郭盈光
Guo Yingguang
郭盈光于1983年生于中国辽宁，现居住工作于北京。伦敦艺术大学传媒学院摄影硕士，中国传媒大学艺术摄影专业学士。郭盈光的艺术创作围绕中国当代许多社会问题展开，她擅于用摄影语言解构关系，构建关系，并传达细腻而丰富的情绪。她的跨媒介艺术实践结合影像、装置、行为、手工书等多种呈现方式，着重探索女性在中国现实与网络情境中的婚姻、生存及自我价值状况。郭盈光凭借《顺从的幸福》系列作品获得2017年集美·阿尔勒Madame Figaro女性摄影师奖，受到法国阿尔勒国际摄影节官方展览邀请及Sophie Calle（苏菲·卡尔）、Paul Graham（保罗·格雷厄姆）等知名艺术家的推荐。郭盈光也是首位在欧洲摄影馆（Maison Européenne de la Photographie）举办个展的中国女性艺术家。
Yingguang Guo (b. 1983, Liaoning, China); lives and works in Beijing. Yingguang Guo graduated from London College of Communication (UAL) with a Master’s degree in photography, Communication University of China with a Bachelor's degree in Photography (Art Direction).
Moving on to the artistic world, Yingguang Guo’s work revolves around social issues in contemporary China, using image creation to deconstruct / construct relationships and express emotions linked to her past. Her multi-media practice of photography, printmaking, video, installation, performance and artist book explores the marriage, living and self-value reality faced by women in today’s Chinese society. Guo won the Jimei ARLES 2017 Madame Figaro Women Photographer Award with the series The Bliss of Conformity and was invited to exhibit at Rencontres d'Arles International Photography Festival in France in 2018. During the exhibition, her works were highly recommended by the well-known artists Sophie Calle and Paul Graham. She had her solo exhibition Yingguang Guo: The Bliss of Conformity opened at Maison Européenne de la Photographie (Paris, France) in 2019, marking her the first Chinese female artist to hold a solo exhibition at the MEP.
伊萨·梅尔茨海默
Isa Melsheimer
伊萨·梅尔茨海默于1968年生于德国诺伊斯，目前工作生活在柏林。她的创作包括绘画、刺绣、雕塑、装置、以及植物学作品，呈现的是她的记录性研究和正式的调研。勒柯布西耶、密斯·凡德罗、诺曼·福斯特、Superstudio ……这些用理论塑造产生的伟大责任感去传递理想的建筑师都成为了她思考的对象，他们用木、玻璃、混凝土来描绘乌托邦，使它们在人类居住的尺度上复原。通过对历史建筑和城市规划的思考，梅尔茨海默用作品来讨论人与人、动植物、建筑和环境之间的关系。她的理论构想搭载着建筑观念与历史，并把它们当作创意与冲击的空间。然而，她的创作方法并不仅仅是美学上的，也是逻辑分析式的，一遍又一遍地回到最根本的问题之上，从而提炼其精华。
她的近期个展包括 Concrete Bodies are Finite, 艺术与乡村国际中心，瓦西维耶尔岛，2022；Compost, 尼斯现当代艺术馆，尼斯，2021-2022; Der unerfreuliche Zustand der Textur, 当代艺术中心，柏林，2020; The Year of the Whale, 佛戈岛画廊，佛戈岛，2018; Der tote Palast zitterte – zitterte!, 密斯·凡德罗中心，柏林，2017.
Isa Melsheimer was born in Neuss, Germany, in 1968, and lives and works in Berlin. Her practice spans painting, embroidery, sculpture, installations and botanical works, reflecting her documentary research and formal investigations. Le Corbusier, Mies van der Rohe, Norman Foster, Superstudio… Isa Melsheimer’s reflections are based on architectures which convey ideals, with the great responsibility of formalising theories, depicting utopias with wood, glass and concrete, and, above all, reinstating them on a living, human scale. Drawing on the history of architecture and urban planning, the artist builds her work around the relationships between humans, animals and plants, and their architectural and environmental expressions. The artist’s theoretical vision takes up architectural concepts and histories as spaces of collision and creation. Yet her approach is not only aesthetic, but also analytical, returning to the fundamentals, again and again, in order to extract their essence.
Her recent solo exhibitions include ‘Concrete Bodies are Finite’ at the Centre International d’art et du paysage, Île de Vassivière (2022); ‘Compost’ at the MAMAC, Nice (2021-22); ‘Der unerfreuliche Zustand der Textur’ (2020) at KINDL – Centre for Contemporary Art, Berlin; ‘The Year of the Whale’ (2018) at Fogo Island Gallery, Fogo Island; ‘Der tote Palast zitterte – zitterte!’ (2017) at Mies van der Rohe Haus, Berlin.
艾洛蒂·塞金
Elodie Seguin
艾洛蒂·塞金于1984年生于法国巴黎，目前工作生活于巴黎和马德里。塞金对于绘画创作的探索有着独特的角度，主要关注于不同被绘制的物体之间的关系、它们之间的构图以及它们与展览空间之间的关系。她的创作包括雕塑、绘画、场域特定装置等。通常她的作品使用不太常规的媒介，比如木料、纸张、三合板，并且他们并不连接在一起，而是互相散落或磊在一起，或者依靠画廊空间的墙壁或精心排布于地面，通过使用低饱和度的近乎单色的颜色来绘制，这让她的作品很难被归类。塞金的作品与极简主义有着明显的连接和继承。她对于将颜色作为感知维度的理论和现象有着浓厚的兴趣，这些体现在她对于蒙德里安和马列维奇的极简主义的继承上。
塞金曾获得多个艺术奖项并参与了多个艺术驻留项目，包括 MAAC 基金会，意大利，2022；第戎 Interface, 法国，2021-2022；FIACC，比利时，2021-2022; 拉法耶前瞻基金会，法国，2014；MACRO，意大利，2012；巴黎城市国际艺术，法国，2011-2013. 近期的个展包括 The Missing Thing, 乔斯林·沃尔夫画廊，法国，2022; Yes, Not, MACBA, 阿根廷，2019; hall painting (Wall work), L40/罗莎·卢森堡广场，德国，2019; Debout Derrière Scène Ouverte, 法国文化中心，意大利，2011.
Elodie Seguin was born in Paris, France in 1984. She lives and works between Paris and Madrid, Spain.
Elodie Seguin has defined a unique approach to painting in which she explores the relationship between several painted objects, as well as their organisation within and their relationship to the given exhibition space. Her practice navigates between sculpture, painting, and in-situ installations. Oftentimes, the elements of her works, consisting of materials such as wood, paper, MDF or cardboard, are not joined together but simply placed on top of or next to each other, leaning on the gallery walls or carefully placed directly on the floor, usually painted in single monochromatic colours which defy categorisation. Seguin's work displays an obvious affinity to the minimalist tradition. Her theoretical and phenomenological interest in colour as a dimension of perception also links her approach to a modern tradition of painting which began with Mondrian and Malevich.
Elodie Seguin has been the recipient of various awards and residencies, including at the Fondazione MAAC, Calassetta, Italy in 2022, at Interface Dijon, France in 2021-2022, at FLACC, Genk, Belgium in 2021-2022, at Lafayette Anticipations, Paris, France in 2014, at MACRO Roma, Italy in 2012, and at the Cité international des Arts in Paris, France, 2011-2013. Recent projects and solo exhibitions include ‘The Missing Thing’, Galerie Jocelyn Wolff, Paris-Romainville, France, 2022; ‘Yes, Not’, MACBA, Buenos Aires, Argentina, 2019; ‘hall painting (Wall work)’, L40/Kunstverein am Rosa-Luxemburg-Platz, Berlin, Germany, 2019; ‘Debout Derrière Scène Ouverte’, Centre Culturel Français, Milan, Italy, 2011.
弗朗西斯科·特洛巴
Francisco Tropa
弗朗西斯科·特洛巴于1968年生于葡萄牙里斯本，目前在里斯本工作生活。时间、传说故事、形式主义审美是他作品中的常见元素。特洛巴将故事串联在一起，重新讲述神话、科技、科学和社会的故事。他使用多种媒介进行创作，包括雕塑、绘画、行为表演、蚀刻、装置、摄影、录像，来传达他对于不同雕塑和科学催化下的一系列反思。在他的装置作品中，存在着大量的精确且珍贵的物体，以及充满几何感的精致形式、细致的原型和复杂的机械。此外，他的作品也清晰地被时间概念加持。时间是他在工作室创作时具有决定性的因素，有时，一件作品需要用许多年的时间来完成。
除了在2011年代表葡萄牙参加威尼斯双年展之外，他也于2012年参加雷恩双年展，2011年的伊斯坦布尔双年展，以及2000年的欧洲宣言展，1999年墨尔本双年展，1998年圣保罗双年展。他近期的个展包括，The Lung and the Heart, 巴黎现代艺术馆，法国（2022）；Che Vuoi?, 地狱之谷艺术中心，法国（2022）；Behind Us, MUCEM, 法国（2020）；The Pyrgus from Chaves, 卡洛斯特·古本江基金会，葡萄牙（2019）；Performance Scripta, 国立舞蹈中心，法国（2018）；Performance Gingante, MOVE 艺术节，蓬皮杜艺术中心，法国（2018）；TSAE 古埃及沉没宝藏，朗格多克-鲁西永区域当代艺术博物馆，法国（2015）；TSAE 古埃及沉没宝藏，里斯本博物馆，葡萄牙（2014-2015）；STAE 古埃及沉没宝藏，爱马仕企业基金会，比利时（2013）.
Francisco Tropa was born in 1968, and works and lives in Lisbon.
Time, tales and formal aesthetics are the main elements of his work. The artist links stories together, retelling mythologies, technologies, science and societies. Tropa uses several media – sculpture, drawing, performance, engraving, installation, photography and film — to convey a series of reflections catalysed by the different traditions of sculpture and science. His installations abound in precise and precious objects, geometric and elaborate forms, delicate prototypes and complex machines. His pieces are most clearly underpinned by the notion of time. Time is also decisive in the studio work by the artist, who sometimes develops his projects over several years.
Besides representing Portugal in the Venice Biennale (2011), he also took part in the Rennes Biennial (2012), the Istanbul Biennial (2011), Manifesta (2000), the Melbourne Biennial (1999) and the São Paulo Biennial (1998). Some of his recent solo exhibitions include: The Lung and the Heart, Musée d’art moderne de Paris, France (2022); Che Vuoi?, Le Creux de l’Enfer, Thiers, France (2022); Behind Us, MUCEM, Marseille, France (2020); The Pyrgus from Chaves, Fundaçào Calouste Gulbenkian, Lisbon, Portugal (2019); Performance Scripta, Centre National de la Danse, Paris, France (2018); Performance Gigante, Festival MOVE, Centre Pompidou, Paris, France (2018); TSAE - Trésors Submergés de l’Ancienne Égypte, Musée Régional d’Art Contemporain Languedoc-Roussillon, Sérignan, France (2015); TSAE - Tesouros Submersos do Antigo Egipto, Museu de Lisboa, Lisbon, Portugal (2014-2015); STAE - Submerged Treasures of Ancient Egypt, La Verrière, Fondation d’Entreprise Hermès, Brussels, Belgium (2013).
圣地亚哥·得·保利
Santiago de Paoli
圣地亚哥·得·保利于1978年生于布宜诺斯艾利斯，目前工作生活在美国纽约。他的作品对于很多新接触的观众来说能够带来一丝惊喜。初次欣赏时会看到艺术家呈现的都是日常生活中最常见的元素与物件，例如月亮、蜡烛、台灯、花朵、心、袜子、身体部位、天空、风景等，并被赋予了明艳的色彩。但他的作品需要调动观众进行仔细且深度的思考，去感受其呈现的简单与怪异。通过使用非常规材料，例如回收来的织物、木料、石膏等，得·保利试图打破媒介所具有的严肃性，而更多的精力用在了作品的构图，将刺激性的元素与颠覆性的幽默感、儿童的纯真结合起来。
得·保利近期的项目和个展包括，Inside the Red Barn, OSMOS Station, 斯坦福德，纽约，2022; A leaf in the wind, 乔斯林·沃尔夫画廊，罗曼威尔，法国，2021; Bebê Rasteja, 门德斯·伍德画廊，圣保罗，巴西，2019-2020; Entre nosotros y el objeto, Môvil画廊，布宜诺斯艾利斯，阿根廷，2016; Pescado y Papas, 无线岭，斯坦利港，马岛，2015; The New Society, Swan Coach House 画廊，亚特兰大，美国，2007; 参与过的群展机构包括 X 美术馆，北京，2021; 布宜诺斯艾利斯现代艺术馆，阿根廷，2019; 摩纳哥新国立博物馆，帕洛马，摩纳哥，2018; 上维埃纳省当代艺术馆，罗什舒阿城堡，法国，2018.
Santiago de Paoli was born in Buenos Aires, Argentina in 1978, now he lives and works in New York, USA. De Paoli’s painting might seem surprising to the viewer. At first glance, the artist appears to be representing a number of common themes and elements, such as moons, candles, lamps, flowers, hearts, socks, human posteriors and genitalia, skies and landscapes, using quite vivid colours. But his work requires being contemplated through a feeling of strangeness and simplicity. Using unusual media, included recycled textiles, wood and plaster, de Paoli seeks to obviate the seriousness of the medium, elaborating the composition of his paintings and the combination of evocative elements with a disruptive sense of humour and a childlike innocence.
Santiago de Paoli’s recent projects and solo exhibitions include ‘Inside the Red Barn’, OSMOS Station, Stamford, New York, USA, 2022; ‘A leaf in the wind’, Galerie Jocelyn Wolff, Paris-Romainville, France, 2021; ‘Bebê Rasteja’, Mendes Wood, São Paulo, Brazil, 2019-2020; ‘Entre nosotros y el objeto’, Môvil, Buenos Aires, Argentina, 2016; ‘Pescado y Papas’, Wireless Ridge, Stanley, Falkland Islands, 2015; ‘The New Society’, Swan Coach House Gallery, Atlanta, USA, 2007. Amongst other group shows, his work has been presented at X Museum, Beijing, China, 2021; Museo de Arte Moderno de Buenos Aires, Argentina, 2019; Nouveau musée national de Monaco, Villa Paloma, Monaco, 2018; Musée d'art contemporain de la Haute-Vienne, Château de Rochechouart, France, 2018.
弗朗茨·艾哈德·沃尔特
Franz Erhard Walther
弗朗茨·艾哈德·沃尔特出生于1939年的德国富尔达，目前在富尔达工作生活。从上世纪50年代开始，沃尔特就开始创作一系列作品以旁观者的角度来检视其存在和状态。将不同片段整合为运动的整体，沃尔特创作出了那件世界著名的多部雕塑作品《第一组作品》（1963-1969），他让公共参与成为他艺术创作的一部分。沃尔特使用织物，结合最基本的形态，共同营造出具有概念性的特色，使观众更好地参与进来，其激进的创造让人重新思考雕塑与行动之间的关系。
沃尔特曾参与 Harald Szeemann 策划的划时代意义的展览 When Attitudes Become Form, 波恩美术馆，瑞士，1969; Space, MoMA, 纽约，1969. 从上世纪60年代开始，他受邀参加大量的国际范围内的个展和群展，包括第五届到第八届的卡塞尔文献展（1972, 1977, 1982, 1987），第57届威尼斯双年展《艺术万岁》，并获得最佳艺术家金狮奖。
他近期的个展包括《雕塑的起源》，MACMA，瑞士（2010）；LINE/FRAME/ACTION/DRAWN NOVEL, Drawing Room 画廊，英国（2012）；《弗朗茨·艾哈德·沃尔特》，汉堡艺术中心，德国（2013）；《身体决定》，CAPC, 法国及 WIELS 当代艺术中心，比利时（2014）；Architektur mit weichem kern, MUDAM 艺术馆，卢森堡（2015）；A Place for the Body, 雷纳·索非亚国立艺术中心，西班牙（2017）；《思考行动》，路德维希论坛亚琛艺术奖，德国（2017）；《物尽其用》，胡梅克斯博物馆，墨西哥（2018）；《形式的迁移 1956-2006》,彼得·弗里曼画廊，美国（2019）；《转换视角》，慕尼黑艺术馆，德国（2020）；《身体·空间·时间》，温特图尔美术馆，瑞士（2021）.
Franz Erhard Walther was born in 1939, in Fulda, Germany, where he lives and works. Since the 1950s, he has been developing work that examines the role of spectators in the grasping of a piece, and also its status. As the creator of pieces to be put into motion, with his famous multi-part sculpture First Work Set (1963 – 1969), he has turned public participation into one of the drivers of his art. His use of fabrics combines elementary forms with conceptual notions, engages visitors, and marks a radical rethinking of the relationship between sculpture and action.
Franz Erhard Walther participated in the legendary exhibition curated by Harald Szeemann ‘When Attitudes Become Form’, 1969, at the Bern Kunsthalle, Switzerland, as well as ‘Spaces’, 1969, at the Museum of Modern Art (MoMA), New York, USA. Since the 1960s, he was invited to present his work in numerous international solo and group shows. He participated in Documenta 5 to 8 (1972, 1977, 1982, 1987) in Kassel, Germany. He was invited to the 57th International Art Exhibition of the Venice Biennale ‘VIVA ARTE VIVA’, and honoured by the Golden Lion Award for the Best Artist of the exhibition.
His recent solo exhibitions include : ‘Franz Erhard Walther, de l'origine de la sculpture’, Mamco, Geneva, Switzerland (2010); ‘LINE/FRAME/ACTION/DRAWN NOVEL’, Drawing Room, London, UK (2012); ‘Franz Erhard Walther’, Hamburger Kunsthalle, Germany (2013); ‘The Body Decides’, CAPC, Bordeaux, France and WIELS Centre d’art contemporain, Brussels, Belgium (2014); ‘Architektur mit weichem kern’, MUDAM, Luxembourg, Luxembourg (2015); ‘A Place for the Body’, Museo Nacional Centro de Arte, Reina Sofia, Madrid, Spain (2017); ‘Thinking Action’. the awarding of the Aachen Art Prize at Ludwig Forum Aachen, Germany (2017); ‘Objects to use’, Museo Jumex, Mexico (2018); ‘Migrations of Forms 1956-2006’, Peter Freeman Inc., New York, USA (2019); ‘Shifting Perspectives’, Haus der Kunst, Munich, Germany (2020); ‘Body Space Time’, Kunsthalle Winterthur, Winterthur, Switzerland (2021).
