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Vanito Vanitas / 消失的空白

- Michal Martychowiec - 德国

Vanito Vanitas
消失的空白

“从零中,在零里,开始才得以开始” — 马列维奇

形式主义尽头的自我觉醒,产生的是空白与虚无。弥豪以当代与后现代主义的方式,将 “虚空派(vanitas)”重新探索了一番。《Vanito Vanitas》的介入点为西方古典意义上对“艺术”观念, 创作过程用现代的方式演示了艺术家对“艺术”和“绘画”的告别。杜尚(Marcel Duchamp)宣称,一件艺术作品的生命周期是20年。在那之后作品仅存于”艺术史“中。但”艺术史”绝非是“艺术”。

在17世纪,虚空派画作的意义为基督教框架下的“消逝”、“徒劳”、“空泛”与“虚荣”,但Vanito Vnitas中,艺术家打破“符号象征”的原定义,颠覆性地跳出虚空派画作中的“象征主义”与‘比喻主义“甚至“感官主义”。使用“方法论”的方式解构虚空画背景下的符号象征。

弥豪使用白色块盖住了那些“援引着各种描绘主体的”象征符号“ 意义的物件”,以取消其象征符号本身的释义——如盖住象征虚荣的银器。如此以来,图画中变成空白的物体,就被冠以“第一人称”成为了画的主题。犹如偷天换柱却又未改变丝毫,使作品突破了艺术的层面的局限,跃为了现实体验的一部分。使观者更直接的体验画中符号虚空意义的纯粹。

在这系列作品中,艺术家向“历史的生命周期”发问。如果一切都会消逝与消亡,那“历史”也不会例外有终结的一天。曾经的艺术作品在化作杜尚口中的“艺术史”后,面临终结时,会成为什么?历史的终点之后是否还能继续创造艺术?那时,界定艺术边际的讨论是否还有意义? 艺术家认为唯一的答案,既是“抓住眼前的美好”。一件街头巷尾的现成品,一份曾经伟大的艺术家的记忆,或是画廊中悬挂的作品,在一切都终结时,恐怕毫无区别。

*虚空派 – (英语:Vanitas是指一种象征艺术的静物绘画。单词来自拉丁语中vanitas, 意即“虚无”。圣经传道书》在1:2章节中曾使用这个词语——虚空的虚空,凡事都是虚空(Vanity of vanities; all is vanity)。拉丁语为Vanitas vanitatum omnia vanitas。该绘画风格盛行于巴洛克时期,尤其是16至17世纪的尼德兰地区。虚空画试图表达在绝对的死亡面前,一切浮华的人生享乐都是虚无的。也因此,虚空画在对世界的描绘中透露出一种阴暗的视角。这些作品中的物体往往象征着生命的脆弱与短暂,以及死亡。其中常见的包括:头盖骨;水果和花朵:象征着衰老;气泡:代表了生命的易逝与死亡的突兀;烟,沙漏,钟表等等。在许多作品中还展现出人类精神生活的一些元素,比如书籍,科学仪器,及象征人类欢乐的乐器和烟管等。虚空派是静物画的一种特殊形式,画家从多个层面构思,所表现的不仅仅是精美的艺术品。相反,画中的每一样事物都具有象征含义。虚空派画作向观众展示:人人都不能逃脱死亡,人的野心是多么的愚蠢。正如上文所说,虚空派的作品是道义的说教,警告人们世间万物既无意义,也非人们想象的那么重要。传统虚空派的静物画主要借由具体事物象征财富,知识,自然事物或地上现世的事情等,进而得以借助事物来具体表现、耶稣复活以及盼望永生的主题并列。

Year
年份
Medium
媒介
Size
尺寸
Edition
版数
Signed
签名
2010-2011Pigment print/analogue print
色素印刷/胶片冲印
Various
尺寸不一
5/18
冲印5版,印刷为18版
Yes
Type
类型
Condition
状况
Offer
状态
Quote
价格
SKU
编码
edition prints
印刷版画
Excellent
完美
Available
可售
8500-28000
人民币
MM002

Self-reflexing formalism taken to its limits produces cancellation – and this can be revalued and reinterpreted as modern and post-modern vanitas.

Vanito Vanitas. Emptying emptiness. At the beginning, there is an image. And this somehow iconographic image is a base to operate with in this at first formal discussion.  The initial images operate with symbols only in order for these symbols to be rendered inoperative. To empty the empty is to evoke the pure experience of it and thus I deprive my work of any symbolic representation.

“It is from zero, in zero, that the movement of beings begins” [K. Malevich]

In a way, the last series of photographs from my Vanito Vanitas project is a result of my ultimate struggle with the iconography of western morality, painting, and art in general.

If 17th century vanitas painting was about the very Christian ideas of passing away, futility, disappearance and vanity, in the final chapter of my Vanito Vanitas the works are not about, but re-present the very concepts, no longer through symbolism of the figurative nor through sensual experience of the abstract, but through them being the very quality of the actual artworks, i.e. quality of the body. What used to be the object of disappearance becomes its very subject. This no longer operates within the sphere of art alone but within the sphere of experienced reality.

The entry point of Vanito Vanitas is the classical western idea of art which is then faced again in the final approach and my goodbye to painting and art. Marcel Duchamp claimed a work of art has a lifespan, which he estimated to be 20 years. After 20 years, he claimed, a work of art becomes part of art history. And the history of art is not art. In Vanito Vanitas this idea is taken further. Does history have a lifespan? All passes away and so should history. What is to become of what had been a work of art and then has become part of art history? I mean, what does happen to an image of art history when it has almost completely disappeared. Is it possible to make art in post-historic time, is it possible to still remain within the discourse of what is art and what is not? To me these no longer valid questions leave one with no other option but to depend on what is left, i.e. the very crude reality, of what we touch and what we see, and what this reality takes from us and what it gives us. A ready-made found in the street, a memory of once a great artist, or a painting in the gallery, neither of these things is any different.

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 数码冲印 / 版数18/ 58x50cm /人民币 9000

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 数码冲印 / 版数18/ 58x50cm /人民币 9500

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 胶片冲印 / 版数5/ 70x90cm /人民币 28000

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 数码冲印 / 版数18/ 37x50cm /人民币 8000

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 数码冲印 / 版数18/ 58x50cm /人民币 8000

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 数码冲印 / 版数18/ 36x46cm /人民币 8000

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 胶片冲印 / 版数5/ 120x100cm /人民币 20000

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 数码冲印 / 版数18/ 51x60cm /人民币 8000

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Michal Martychowiec - vanito vanitas 虚空的空白

Vanito Vanitas, 2011 / 胶片冲印 / 版数 5/ 80x54cm / 人民币 24000

Artist 艺术家

Michal Martychowiec 弥豪·马堤霍威茨

Contemporary Artist 当代艺术家

Michal Martychowiec 弥豪·马堤霍威茨

Michal Martychowiec,1987年出生于波兰卢布林,2009至2011年在英国伦敦圣马丁艺术大学研读视觉艺术,现工作和生活于德国柏林。近期展览包括:“那永存的,皆有诗人创立”,南京艺术学院美术馆,南京,中国 (2017) ; “Engels mit Sphinx Gesichten”,MMS2基金会,柏林,德国 (2016) ; “Line”,gift_lab GARAGE,东京,日本 (2016) ; “All Is History”,Dzialdov,柏林,德国 (2015) ; “Vanito Vanitas”,根金根基金会,根金根,德国 (2013) ; “La Chambre de Labastrie”,Upp画廊,威尼斯,意大利 (2013) ; “In Memory”,乌亚兹多夫城堡当代艺术中心 (CCA),华沙,波兰 (2013) 等。