■ ■  執 行 策 展 人 前 言  ■ ■

Preface By The Executive Curator



    單就概念使用的角度,其實我挺不喜歡雙重,也不喜歡場域。

    雙重,我總覺得有一種二元對立的隱喻意味;而場域,雖說是一個非常立體的概念,但有些令人費解了。但這兩個詞一旦結合起來,“二元對立”的感覺被拉入了一個三維空間裡,而繁雜的語義結構面前被擺上了一面鏡子:一種具有明顯對照,同時又富有層次的立體空間關係。而這種關係,便構成一種“雙重場域”。

    From the perspective of the concept, I actually don't like ‘double’, nor ‘field’.

    ‘Double’ always make me think there is a metaphor of binary opposition,and ‘field’, although a very three-dimensional concept, is a little bit confusing. But once the two words are combined, the sense of "binary opposition" is pulled into a three-dimensional space, and the complex semantic structure is put in front of a mirror: a three-dimensional spatial relationship with obvious contrast. This relationship constitutes a "Double Field".


▲ 嘉陵江邊(嘉華大橋), 2019,80x120cm, 印刷,燈光

Jialing riverside (Jiahua Bridge), 2019, 80x100cm, print, spotlight


    如果說要在現實中尋找到一個形態明確的“雙重場域”模型,重慶這座城市,也許能作為一個最優解了。我相信每一個初到重慶的外地人都會對這樣一種魔幻的城市形態歎為觀止,在重慶,原生自然地形在城市現代化的進程下體現出極強的持久性,依舊可視的地理起伏與龐大的工業器官共存。人類文明痕跡攀附在自然的脊柱上,而自然在視覺上永生。

    If we want to find a definite "double field" model in reality, Chongqing may be an ideal solution. I believe that every newcomer when they arrive in Chongqing will be amazed by such a magical urban form. In Chongqing, the original natural terrain shows a strong persistence despite the process of urban modernization, and the visible geographical fluctuations coexist with large industrial organs. Human civilization cling to the spine of nature, and nature is visually immortal.


▲ 墳墓,2019,80x100cm, 油畫

Tomb,  2019, 80x100cm, oil on canvas


    本次駐留展內所展出的Blaise Schwartz的創作受到了重慶城市形態的啟發,而後前往了更豐富的方向發展。我們可以從他的畫作中讀取到一種隸屬於對物質性世界進行認知範疇的城市技術觀,法國哲學家貝爾納•斯蒂格勒在其著作《技術與時間》中提到,技術是一種記憶形式,是一種有組織的無序物。這其實與海德格爾與胡塞爾的技術觀都共同強調了一個點:技術在人類的短暫存在中具有構成意義,它經由文明的積累而現象化,同時塑造文明的景觀。

    The works of Blaise Schwartz exhibited in this exhibition were inspired by the urban form of Chongqing, and then went to a richer direction. From his paintings, one can see a conception of urban technology where the material world get integrated into cognitive categories. The French philosopher Bernard Stiegler mentioned in his book "Technology and time" that technology is a form of memory and an organized disorder. In fact, together with the views on technology of Heidegger and Husserl, they all emphasize one point: technology has constructive significance in the transient existence of human beings, and its appearance reflects the accumulation of civilization in itself, and at the same time shapes the landscape of a civilization.


▲ 大橋迷宮,2019,視頻 3’46m

The Bridge’s Labyrinth, 2019, Video, 3’46mn


    在這樣的宏觀認知下,Blaise Schwartz感興趣于想像與物質性現實的的關係,感興趣於相互矛盾的思想和表像,這在他作品中以明確的關係展示了出來,當然,這需要您的親身感受。在本次展覽中,有著藝術家本人與其作品間的雙重場域關係,其各個作品之間也構成這樣的關係,與我,與整個展覽,其實都存在於一種物質性現實與想像之間。以至於正在閱讀這份文字的你,作為觀眾,雖然可以像我一樣,不喜歡雙重,也不喜歡場域,但又毋庸置疑地置身其中。

歡迎來到雙重場域。

    In such a macro cognition, Blaise Schwartz is interested in the relationship between imagination and physical reality, and in contradictory thoughts and representations, which are shown in his works in explicit relationships. Of course, it needs your personal experience. In this exhibition, there is a double field relationship between the artist himself and his works, which also constitutes such a relationship between each of his works. In fact, with me and with the whole exhibition, all things exist between material reality and imagination. So while you are reading this text, as an audience, you can just like me don't like ‘double’ nor ‘field’, but you are undoubtedly in it.

Welcome to‘Double Fields’.

─── 杜鎔勛 Rongxun Du




■ ■  藝 術 家 自 述  ■ ■

Text By The Artist



▲ 屋頂,馬路,2019,100x100cm, 油畫

Roof,  road, 2019,100x100cm, oil on canvas


    人類的建築和基礎設施是在物質性世界中想法的一種實際完成,但相對於繪畫或者其它更多普遍性的藝術創作而言,它們其實仍處在實際完成與虛擬半成兩種狀態的中間。在這之中,二維圖像有著能夠呈現尚未存在的事物的能力,或者就像在這裡所展示的畫一樣,能夠在已經存在的場所創造出一個空間。建築和各種基礎設施是人類最大規模的人造器官,相較於此,這些畫作中所呈現的恰恰相反,其中的“連接兩個空間”的形式都來自於一些小小的即興創作與靈感速寫,並在它們被放大化後,以一種更基本、更直接的外化的痕跡所體現。

    Architectures and infrastructures are a completion of an idea into the physical world, while painting, and more generally artworks remain between fullfilment and virtuality. The two-dimensional image is the ability to see what does not yet exist, or as in the paintings presented here to make exist a space where one already exists. Architectures and infrastructures are the artificial organs of man at their largest scale. On the contrary, the forms that link the two spaces in each of these paintings come from little drawing improvisations or idea sketches that have been enlarged, traces of a more basic and direct scale of exteriorisation.

 

▲ 雙重場域 - 表演記錄, 2019 

舞台:Blaise Schwartz | 舞者:賀浩然、李坤龍 | 音樂家: Passepartout Duo,視頻,25分鐘左右

Double  Fields - performance recording,  2019 | Scenography: Blaise Schwartz | Dancers: He Haoran and Li Kunlong | Musicians: Passepartout Duo. Video, Around 25mn 


    這個有關具象化的問題進一步闡述了這個世界中想像與物質現實間相互影響的關係,這一點同格列高裡•貝特森的思想接近,即思想的生態系統與生命的生態系統之間存在關聯。所以,在現代性的意識形態中,一切問題都可以通過技術解決的觀念導致現代世界陷入了一種視覺表像,這促使整個自然在這個過程中的不斷地被轉變、被異化,人性亦如是。

    This question of concretization brings the one of the relation between imagination and material reality of the world, their mutual influences, which is close to the ideas of Gregory Bateson that there are relations between ecosytems of ideas and ecosystems of life. Thus in Modernity ideology, the idea that everything is resolvable by technologies leads to a certain visual appearance of the modern world, leading to a constant transformation and domestication of nature, which includes human nature.

 

───  Blaise Schwartz




■ ■  藝 術 家 介 紹  ■ ■

About The Artist



    Blaise Schwartz,法國藝術家,生於1992年,創作、生活於法國和中國之間。2016年巴黎美術學院榮譽畢業生。


部分展覽:

2019,« 時間之鏡 » 於中國重慶四川美術學院及周邊街道,群展;

2019,« 100% L’Expo » 於法國巴黎La Villette,群展;

2018,« 一灘鷗鷺 » 於中國上海半張圖美術館, 群展;

2017,« Felicità 17 » 於法國巴黎美術宮, 群展;

2014, « 追求卓越 » 於法國巴黎中國文化中心, 群展;

2013, « hasard d’ensembles » 於法國阿諾奈GAC,群展;


以往主要作品:

▲ 樓梯,2018,145x145cm, 油畫

Stairs, 2018,145x145cm, oil on canvas


▲ 切片,2018,50x50cm, 油畫

Slice, 2018,50x50cm,oil on canvas


▲ 花園,2018,100x100cm, 油畫

The Garden, 2018,100x100cm, oil on canvas


▲ 事實的空間,2016,200x200cm, 油畫

Spaces of facts, 2016,200x200cm, oil on canvas




■ ■  合 作 藝 術 家 介 紹  ■ ■

Co-artists Introduction



    1993年生于重庆,有过航海经验,接触街舞与重庆身体剧场。

    Born in Chongqing in 1993, he has sailing experience and contact with street dance and Chongqing Body Theater.

 

    1987年生於大同,自由独立舞者,IN FREE LIVE艺术空间創作人和負責人。

    Born in Datong in 1987, a free and independent dancer, creator and director of“IN FREE LIVE” art space.

 


 藝術家組合:「 路路通二重奏 」


    鋼琴家Nicoletta Favari(上)和打擊樂器演奏家Christopher Salvito(下)通過創造跨學科的合作和沈浸式的音樂活動,在不同文化和美學的交融中獲得了當代古典音樂倡導者的美譽。他們在全世界進行了長達數年的旅程。受到不斷變化的地理位置的影響,這對組合製作了新的曲目,創作了原創作品,並拍攝了音樂視頻,試圖以一種創造性和引人入勝的形式捕捉他們的詮釋。

    Through the creation of interdisciplinary collaborations and immersive musical events that thrive at the intersection of different cultures and aesthetics, pianist Nicoletta Favari (up) and percussionist Christopher Salvito (down) have earned a reputation together as advocates for contemporary classical music as they continue their years-long journey around the world. Influenced by their ever-changing location, the duo commissions new repertoire, composes original pieces, and films music videos that seek to capture their interpretations in a creative and engaging format.

 



■ ■  展 覽 信 息  ■ ■

Exhibition Information



  2019“開放的六月·川美創谷藝術遊”

  2019 "Open June, Chuanmei Creation Valley Art Tour"


《雙重場域》法國藝術家Blaise Schwartz駐留作品展

「Double Fields」residency exhibition by French artist Blaise Schwartz


  開幕表演:2019.6.8(週六)19:00

  展覽時間:2019.6.1- 6.23

(週五至週日10:00-18:00)

  展覽地點:重慶•黃桷坪•十方藝術中心

  Openning Time: 2019.6.8(Sat.)19:00

  Exhibition Time: 2019.6.1 - 2019.6.23

(Fri.-Sun.10:00-18:00)

  Venue: Dimensions Art Center (DAC), Huangjueping, Chongqing


  藝術家:Blaise Schwartz(法國)

  合作藝術家:賀浩然(中國)、李坤龍(中國)、Nicoletta Favari(意大利)、Christopher Salvito(美國)

  藝術總監:曾途

  策展人:胡燕子

  執行策展人:杜鎔勛(十方青年策展人實踐計劃)

  Artist: Blaise Schwartz ( FR )

  Co-Artists: Haoran He、Kunlong Li、Nicoletta Favari (ITA)、Christopher Salvito (USA)

  Art Director: Tu Zeng

  Curator: Yanzi Hu

  Executive curator: Rongxun Du(DAC Emerging Curator Practice Project)


  執行統籌:羅義

  海報設計:盧雨杭

  翻譯協助:杜鎔勳

  拍攝協助:熊柏靈

  Coordination: Yi Luo

  Poster Design: Yuhang Lu

  Translation Assistance: Rongxun Du 

  Shooting Assistance: Boling Xiong


  指導單位:重慶市九龍坡區文化和旅遊發展委員會

  主辦方:十方藝術中心(DAC)

  guidance organization: 

  Culture And Tourism Development Committee of Chongqing Jiulongpo District  

  Sponsored by: Dimensions Art Center (DAC) 


  支持方:

  Sense健康管理工作室

  國際化藝術拔尖人才實驗班

  Supporter: 

  Sense health Management Studio、

  International Art Top Talents Experimental Class



  媒體支持:

  SupportingMedia:








Website : chongqingdac.org

Email : info@chongqingdac.org

Wechat : CNCQDAC

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Chongqing Dimensions Art Centre & Chongqing Artists In Residency

Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.