2017年01月13日 18:26 新浪收藏 微博
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  在百家湖美术馆的一层,Dimitri Kosiré的装置系列《射穿》、《毁灭》、《焚烧》吸引了众多观者的驻足。美术馆的公共收藏是对社会最好的回馈,在Dimitri Kosiré看来,第三届南京国际美术展的主题“HISTORICODE:萧条与供给”和他的作品是融为一体的,他认为百家湖美术馆才是它们最好的归宿。同时,这也是百家湖美术馆自11月12日开馆之后所收到的第一件捐赠作品,这是一个很好的开始。美术馆通过不断丰富的馆藏作品为观众设计一个活态的中国当代艺术史的语境,使得参观过长期馆藏陈列展的观众能在最短的时间读懂当下的艺术,这是拉进观众与“艺术”距离、改变“曲高和寡”状态的最佳捷径。

  我们很荣幸的收到来自法国的艺术家Dimitri Kosiré的捐赠,这一系列优秀作品将被百家湖美术馆永久收藏。

  Dimitri Kosiré:


  Dimitri Kosiré:

  “生存还是毁灭,这是个问题…去死,去睡,去睡!也许会做梦。。。。。。” , 威廉·莎士比亚戏剧中哈姆雷特的独白我们反映了我们作为凡人的境遇。。。但是艺术品的境遇又是如何?






  从这些图片中提取视觉特质,去定义实际上是他们的基础的那些词汇:《射穿》《毁灭》《焚烧》,将其视觉元素最小化,目的在于更好地感知它们传达的美学。 正是这样的探索,这样的强调,推进了该装置作品的实现。


  作者:Dimitri Kosiré

  经Ann Cremin译为英文


  “ To be or not to be, that is the question…To die…to sleep, to sleep! Perchance to dream … ”Hamlet’s monologue in William Shakespeare’s play thus reflecting our condition as simple mortals…but what of a work of art?

  I can imagine it emerging from its nest after a few years’ sleep and recovering its ancient appeal, coming back to life, ready once more to welcome the light, and to establish “that mysterious bridge which exists between an artwork and those who look at it” to paraphrase Eugène Delacroix。

  That is the whole purpose of a work of art …to convey ideas, concepts, emotions, technical innovations, as well as issues …。but all of that is nothing if a work does not find its place, a location。 The installation “ Aesthetic of Violence” was carried out on the occasion of the exhibition “HISTORICODE:Scarcity and Supply” and that event was the originator of its undertaking。 That installation might never have seen the light of day without that potential appointment。 It already existed, like the vague stuff of dreams in the maze of a brain, not that of Hamlet but my own。 It nonetheless needed to be summoned, then once undertaken, it needed to be invited。 Then it found its packing case and thanks to the airways, it travelled over the continents to finally be shown in Nanjing…。such is its history…it was therefore very naturally that it found its place in the collection of the Nanjing International Art Festival。

  One morning, glancing through the newspaper on internet, my eye remained fixed on a photograph in a war report。 My eye as a visual artist, which had worked a great deal the day before, was still wide awake, on edge, and it could not help but be caught up by that image, to find in it a rare visual power, almost hypnotizing。 I did not fully grasp what it represented; it remained abstract until the moment where I was able to link it up to a reality。  Immediately a censorship was set up, and my ethical sense prevented me, forbade me, to remain thus captivated。 Quite rightly of course, since behind that stunning image there was a horrible, ghastly, nightmarish reality… indescribable。

  That aesthetic experience was thus the source of awareness, rather than of a reflection。 … Thus was born the notion of that visual work which I named:“the aesthetics of violence”。

  What aestheticism do these images transmit?  Why are they shown us daily and above all, why do we look at them? Do they exercise power over us?

  To extract from these images a visual quality, to define what is in fact their basic vocabulary: ? Bulleted ? ? Destroyed ? ? Combusted ?, to minimize its visual elements in order to become aware of the aestheticism they convey。 It was that research, that highlighting, which motivated the carrying out of that installation。

  I belong to that generation which, in 1991, sat through the first war directly ? live ?, like a TV reality show when the operation ?Desert storm? took place to overturn Saddam Hussein。 I was seated comfortably, facing the screen, when the SKUD missiles began to be launched against Iraq。 A bit terrified, of course, because it was a war, the first of that amplitude in the West since 1945。  But very soon, I was rather reassured because it was not so terrifying: luminous projectiles sent into the skies, journalists reporting directly from hotel roofs。 We were watching a televisual event… something was happening, undoubtedly something very serious, but finally it had no more reality than the virtuality of a movie or at most of a video game。 The frontier between Reality and Virtuality was becoming very hazy。 As soon as an event is filmed, it becomes an image (pixilated) and responds to aesthetic principles。 Those images of violence, destruction, wars, which, deliberately or not, we consume every day, answer that aesthetics: ?aesthetics of violence ?。 Underlining its visual resorts, exhibiting them as such, becomes a way of acknowledging their power and of the action they exercise over us。  




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