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凤凰艺术

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VISION青年视觉 2018-10-23 14:42

原标题:2018 FIAC PARIS:艺术向自由

作为世界艺术的中心,巴黎每年十月都会举办巴黎国际当代艺术博览会(FIAC),至今已有45年的历史。FIAC既是一个国际市场,也是短暂的博物馆,每年约有7万5千人在主展场大皇宫(Grand Palais)内观赏、漫步。

FRANZ WEST

DORIT, 2002

Aluminium laqué

600 x 150 x 150 cm

Venus Over Manhattan, New York

ERIC CROES

267 x 45 x 53 cm

Céramique émaillée, béton et acier

Sorry We’re Closed, Brussels

FRANÇOIS-XAVIER LALANNE

LE TRÈS GRAND OURS, 1994-2015

Bronze

300 x 150 x 150 cm

Galerie Mitterrand, Paris

WANG ZHAN

JIASHANSHI NO. 106, 2006

Acier inoxydable

442 x 350 x 180 cm

Pace, New York, London, Beijing, Hong Kong, Palo Alto, Seoul, Genève

2018年的FIAC于10月18日至21日举行,汇集了全球27个国家的195家画廊,比去年增加了18家,其中包括中国的魔金石空间、天线空间和博而励画廊。除了主展场大皇宫外,同时还有FIAC Projects、 FIAC Beyond the wall, 临时电影院(Cinéphémère)等活动在巴黎市内展开,为画廊主、收藏者、艺术家及爱好者们打造艺术的天堂。

KATHARINA GROSSE

Ingres Wood 2018

Acrylic on tree and fabric

255 x 555 x 2,360 cm

© 2018 Katharina Grosse and VG Bild-Kunst, Bonn. Photo by Alessandro Vasari. Courtesy Gagosian.

Installation view of Galerie Gmurzynska’s booth at FIAC, 2018. Courtesy of Galerie Gmurzynska.

With works by Alexandre de Betak, Yves Klein, and Johnny Pigozzi.

Installation view of Neugerriemschneider’s booth at FIAC, 2018. Courtesy of Neugerriemschneider.

With works by Thilo Heinzmann

Installation view of Pace’s booth at FIAC, 2018. Courtesy of Pace.

With works by Zhang Huan, Sui Jianguo, and Hai Bo.

全球经济局势动荡,艺术市场同样受到了影响。相较前两年装置与雕塑遍布会场,今年的FIAC相对保守,大部分画廊选择尽量多的展示架上作品,绘画回归,抽象油画占据了主要地位。一小部分画廊逆流而上,剧场式的展位博尽眼球。如Alexandre de Betak为Gmurzynska画廊设计的装置“On Fire”,将展位布置成未来派的消防站;或高古轩画廊为Katharina Grosse举办的个人展览,堆如小山的巨大树干为观众带来视觉上的绝对震撼。Pace作为拥有诸多世界顶尖级艺术家的国际画廊,今年非常大胆地选择做中国艺术家专场,张晓刚与毛焰的具象油画在一众抽象作品中脱颖而出。

另一方面,在今年FIAC中,非洲、女性话题仍是讨论的热点,他们不再是主流艺术圈的“他者”,艺术的自由和平等体现于艺术市场。大量此类主题的作品体现,从侧面证明了艺术源自真实的力量。敏感的艺术家善于发现生活中不平等,并使用感官的、诗性的语言将问题呈现,尝试“治愈”它们,艺术对社会的改革起到循序渐进的作用。

ROBERT LONGO

Untitled (X-Ray of Venus with a Mirror, 1555, After Titian) 2017

charcoal on mounted paper

298 x 253 cm

Courtesy of the artist and Metro Pictures, New York.

ROBERT COLESCOTT

Diana's Secret (The Orchid Corsage) 1976

Acrylic on canvas with wooden cutouts

203.2 x 149.9 x 4.1 cm and 202.6 x 150.2 x 4.1 cm

© Estate of Robert Colescott/Artists Rights Society (ARS), Courtesy of Blum & Poe

PATRICK VAN CAECKENBERGH

Homme Chips 2018

Mixed media

170 x 380 x 185 cm

In Situ - fabienne Leclerc

FRANZ WEST

Lemur 2009

papier-mâché, styrofoam, metal, acrylic paint

176 x 136 x 63 cm

© Archiv Franz Wes

ANN VERONICA JANSSENS

Cocktail Sculpture 2008

Glass, distilled water, paraffin oil, wooden pedestal

115 x 50 x 50 cm overall

Courtesy: the artist and Esther Schipper, Berlin. Photo: © Andrea Rossetti

Vincent Olinet

Salade de fruits, 2018

Wood, wood dye

Lemon: 70 x 70 x 100 cm

Watermelon: 150 x 150 x 70 cm

Unique

Courtesy of the artists and LAURENT GODIN

GENIEVE FIGGIS

Family (after Goya) 2018

Acrylic on canvas

100 cm x 120 cm

half gallery and the artist

LEANDRO ERLICH

Noeud Mécanique 2018

Ink jet print

87 x 120 cm

Leandro Erlich

DANIEL KNORR

Depression Elevations (Tanned Snakes) 2017

pigmented polyurethane casting, UV resistant, lacquered steel plate

135 x 140 x 7,5 cm, steel plate 160 x 160 x 6 cm

Galerie nächst St. Stephan Rosemarie Schwarzwälder

TONY MATELLI

Arrangement 13 2018

Painted bronze, stainless steel, MDF

83,8 x 38,1 x 38,1 cm

Courtesy Andréhn-Schiptjenko, Stockholm

Jeff Koons

Manet, Soft, 1991

Oil inks silkscreened on canvas

60 1/4 x 91 5/8 inches (153 x 232.7 cm)

Courtesy of the artists and David Zwirner

Gordon Matta-Clark

Study for Office Baroque, 1st. project, c. 1977

Ink on gelatin silver print

Print: 8 x 10 inches (20.3 x 25.4 cm) Framed: 11 3/4 x 14 inches (29.8 x 35.6 cm)

Courtesy of the artists and David Zwirner

Xavier Veilhan

Vue Du Stand

2018

Dimensions Variables Vue Du Stand

Courtesy of Perrotin

© Photo: Claire Dorn

MONA HATOUM

Still Life 2008

Céramique émaillée, bois et acier

87.5 x 180 x 90 cm

Courtesy de l'artiste et Galerie Chantal Crousel, Paris. Photo : Rebecca Fanuele

MONA HATOUM

Still Life 2008

Céramique émaillée, bois et acier

87.5 x 180 x 90 cm

Courtesy de l'artiste et Galerie Chantal Crousel, Paris. Photo : Rebecca Fanuele

TONY MATELLI 2

Four Seasons (Autumn) 2018

160 x 58,4 x 45,7 cm

Courtesy Andréhn-Schiptjenko, Stockholm

VIVIAN SPRINGFORD

Untitled (Tanzania Series) 1972

Acrylic on canvas

140,7 x 155,6 x 2,9 cm

Courtesy of the artist and Almine Rech Gallery / Photo: © Matt Kroening

James White

Large Glass

2018

Galerie Thomas Zander

非洲

“人们似乎还没有意识到这个事实,非洲艺术家们现在已经在餐桌上占据了一席之地。”——艺术史学家Chika Okeke-Agulu

近些年,非洲艺术家在主流艺术圈越来越得到重视,它不仅成为政治正确的重要指标之一,更为主流艺术圈注入了新的血液。MOMA、Tate、LV基金会等各大美术馆争相为非洲艺术家做展览;Jean-Michel Basquiat的天价作品在世界巡回了一圈又一圈;去年,Lubaina Himid成为获得艺术界最具重量的透纳奖的第一位女性黑人艺术家,这些无一不说明黑人艺术正在快速崛起。另一方面,非洲经济飞速发展,非洲新贵支持本土艺术,非洲当代艺术市场已逐步形成,成为新的投资品类。

2018年的FIAC可以很明确感受到这股力量,作品形式更加多样化,摄影、绘画、装置、雕塑、影像均有展出。作品传达出非洲艺术家们对“政治经历”、“移民经历”、“身份认同”等问题的反思,将非洲文化与西方文化交融,让观众明白非洲不是一座孤岛。

BARTHÉLÉMY TOGUO

The Dancer 2015

Aquarelle sur papier

28 x 38 cm

© Barthélémy Toguo / Courtesy Galerie Lelong & Co. and Bandjoun Station

Installation view of ANNE DE VILLEPOIX’s booth at FIAC, 2018.

Courtesy of Courtesy of ANNE DE VILLEPOIX

With works by DERRICK ADAMS

Matthew Angelo Harrison

Dark Silhouette: Couple Transfigured, 2018

Wooden sculpture from West Africa, polyurethane resin, anodized aluminum, acrylic

63 1/2 x 53 5/8 x 17 1/2 inches / 161.29 x 136.21 x 44.45 cm

Courtesy of the artist and Jessica Silverman Gallery

Matthew Angelo Harrison

Dark Silhouette: Couple Transfigured, 2018

Wooden sculpture from West Africa, polyurethane resin, anodized aluminum, acrylic

63 1/2 x 53 5/8 x 17 1/2 inches / 161.29 x 136.21 x 44.45 cm

Courtesy of the artist and Jessica Silverman Gallery

Installation view of Salon 94’s booth at FIAC, 2018. Courtesy of Salon 94.

With works by Huma Bhabha

性别

“补偿数世纪以来对女性的边缘化和视而不见”。——艺术家Babara Kruger

长久以来,Georgia O’Keeffe, Yoko One, Louise Bourgeois, Yayoi Kusama, 或Cindy Sherman等女性艺术家都在艺术史中占有很重要地位,她们的作品有着广泛的影响。但其作品价格、美术馆展览和收藏等方面相较于男性艺术家都是弱势和被低估的一方。近年来,“文化偏见和性别分化”的问题被重新拿出来讨论,女性艺术家和女性主义再次成为热门话题。女性艺术家的展览陆续在各大画廊和美术馆举办,她们的作品也成为了艺术的“新市场”。这一点在今年的FIAC中体现明显,画廊们给予女性艺术家更多的展示机会。如弗里兰兹基金会创始人Elisabeth Murdoch所说:“历史告诉我们,这个世界从来就不缺少女性人才。”

CINDY SHERMAN

Untitled 2018

dye sublimation metal print

199 x 222 cm

Courtesy of the artist and Metro Pictures, New York.

YAEL BARTANA

WHAT IF WOMEN RULED THE WORLD 2016

Neon light

250 x 97,5 cm

Courtesy of the artist and Galleria Raffaella Cortese, Milan

Jack Pierson

The Pretty Girl Likes Me, 2018

Wood, metal, enamel and plastic

174 x 205 x 6 cm

Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg

HANNAH QUINLAN & ROSIE HASTINGS

Something for the Boys (video still) 2018

HD video

16 minutes 34 seconds

Courtesy of the artists and Arcadia Missa

ALEX DA CORTE

A Man With (And Without) Glasses (II) 2018

Wood frame, plexiglass, acrylic paint, digitally printed poplin, sequin pins, foam, velvet, hardware

57 1/4 × 57 1/4 inches

Courtesy the artist and Karma, New York

text Anne Liang

editor JK

photo ©FIAC 2018 / Anne Liang / all the galleries / apiarists mentioned above designer