傅丹: 无题

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傅丹:无题,镜花园展览现场,广州,2020

 

Peter Bonde所作的镜面铝箔油画;
Heinz Peter Knes所拍的关于傅丹外甥Gustav的彩色照片;
Phung Vo手绘的拉丁文短语“suum cuique”,纸上铅笔;
Nanna Ditzel设计的Hallingdal 65布料,羊毛和纤维织物;
据Enzo Mari“自行设计”项目灵感所作的家具
尺寸可变

 

Danh Vo
Untitled 
2019
Painting by Peter Bonde;
photograph of Danh Vo´s nephew Gustav by Heinz Peter Knes;
writing by Phung Vo, pencil on paper;
fabric by Nanna Ditzel and furniture inspired by designs from Enzo Mari´s Autoprogettazione
Variable dimensions 

 

           在傅丹的《无题》(2020)中,文字来自傅丹父亲Phung Vo的手书。
           “All work and no play makes Jack a dull boy”是句古老的格言,意指老是工作的人会变得乏味和厌倦人生。如果你看过库布里克的恐怖片《闪灵》(1980),你可能记得,由杰克·尼科尔森主演的灵感枯竭的作家Jack,被人发现在纸上反复书写的正是这句话。傅丹的父亲Phung Vo其实并不认识他所书写的西方语言,拉丁字母的书写对他而言,更像是一种纯粹的劳动。
          照片反映了长大成人的古斯塔夫(Gustav),他是傅丹在丹麦出生的外甥。自2012年以来,古斯塔夫时不时会成为临时的缪斯,出现在傅丹的作品中。这些照片由傅丹的生活伴侣、摄影师Heinz Peter Knes所摄。
          这些绘画来自丹麦艺术家Peter Bonde,他采用镜面箔片作为画布,保留了绘画的过程性和行动性。Peter Bonde和傅丹的关系可以追溯到傅丹的学生时代,当时Peter Bonde是丹麦皇家艺术学院的教授,也是傅丹的导师,在他见证了傅丹一系列无法理解的行为之后,他在一封推荐信中建议傅丹应该放弃绘画。这封信后来成为傅丹的作品《自画像(Peter)》(2005)。多年之后,画家导师和学生之间看似不可能的僵局终被置之一旁。
          圆形木结构的灵感来自于意大利设计师Enzo Mari 在1970年代倡导的“autoprogettazione”(self design,自行设计),通过采用简便易行的材料和技术,Enzo Mari 鼓励个体在不同的条件下来自行演绎、实现基本设计。
          据“自行设计”的灵感,傅丹展开了一系列介于家具与雕塑之间的实践。
          木结构表面的布料来自Nanna Ditzel——战后“丹麦现代设计”(Danish Modern)重要的女性设计师,傅丹重新发掘了她在1960年代具有历史意义的织物设计:Hallingdal。
          这里的灯来自野口勇的Akari灯系列。野口勇,这位日裔美籍雕塑家的艺术实践和超越国籍、东西方文化界限的生命历程,深深吸引着傅丹去探索和研究。
         《无题》的作品空间,由这些来自艺术家生命过程中不同维度的联系结晶而成,时间刻划的痕迹,星星点点,在流动的空气闪现出微光,让我们对未来产生莫名的期待。

 

In Danh Vo’s Untitled (2019), the calligraphy was hand-written by Vo’s father Phung Vo in his preferred font.
“All work and no play makes Jack a dull boy” is a proverb used since the 17th century to express that someone who would do nothing but working would wear out and become a less interesting person. In an iconic scene from Stanley Kubrick’s film The Shining (1980), Jack Torrance (the main character played by Jack Nicholson) is seen typing this sentence endlessly instead of the play he was dedicating himself to write.
Since leaving his native Vietnam, Vo’s father has barely learned to speak, let alone write, any Western language Calligraphy for him, becomes an act of pure labor.
The photographs were taken by Vo’s lover and collaborator, the artist Heinz Peter Knes, capturing a confidant and self-realized individual.
Vo’s Danish-born nephew Gustav has served as an occasional muse since he was a child.
The paintings are from Danish artist Peter Bonde, who has deployed gestural abstraction for the past three decades, creating process-based paintings that in recent years have been applied to mirror foil surfaces.
Vo’s Self-portrait (Peter), 2005 presents a letter received from Bonde, then a professor at the Royal Danish Academy of Fine Arts, recommending that Vo quit painting.
The daybed was inspired by Enzo Mari’s autoprogettazione (or “self design”), presented in 1974, is an emphatic return to the basic needs of humans, suggesting a reversion to an active relationship with the material world.
The fabric Hallingdal designed by Nanna Ditzel – the “First Lady of Scandinavian Design” – has been in continuous production since 1965.
The light is from the Akari series, designed by the Japanese American sculptor Isamu Noguchi (1904-1988). Danh Vo has been exploring and researching Noguchi’s life and art continuously in recent years.
Too stubborn to be a statement for Utopian diversity, these various autonomies nevertheless co-exist as implicated and pragmatic alternatives to whatever is coming next.

 

文字:由观心亭基于傅丹工作室提供的文本编写
摄影:温鹏
图片由镜花园惠允