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Leaves of Stone / Foglie di Pietra

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Foglie di pietra/Leaves of Stone, 2013 Bronze And Found Stone 94 1/2 × 51 3/16 × 35 7/16 Inches (240 × 130 × 90 Cm) © Archivo Penone. Photo by Ruggero Penone
Leaves of Stone / Foglie di Pietra

7/F Pedder Building, 12 Pedder Street
Hong Kong
CN
January 21st, 2016 - March 12th, 2016
Opening: January 21st, 2016 6:00 PM - 8:00 PM

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DESCRIPTION

A tree trunk of marble, of calcium, encloses, in our thought, the carbon, the plant, and the plant the camouflage of the color of the bronze, and the color of the bronze, the green of the foliage and the trees, the flowing of the material, of water, of rivers in which there courses the subterranean life of the world, of the veins whose flow is enclosed in our body as in the marble cave of the mountains.
—Giuseppe Penone

Gagosian Hong Kong is pleased to present Giuseppe Penone's first gallery exhibition in Hong Kong, which includes key works from the last decade.

In an oeuvre spanning more than forty years, Penone has explored the subtle levels of interplay between man, nature, and art. His work represents a poetic expansion of Arte Povera's radical break with conventional media, emphasizing the involuntary processes of respiration, growth, and aging that are common to both human being and tree.

In December 1968 Penone performed a series of formative acts, literally described, in a forest near his home in Garessio, Italy. In one, he interlaced the stems of three saplings in Ho intrecciato tre alberi/I have interwoven three trees; in another, Albero/filo di zinco/rame/Tree/wire of zinc/copper, he made the imprint of his hand in nails on the trunk of a tree and then affixed twenty-two pieces of lead (his age at the time), joined up with zinc and copper wire. In Crescendo innalzerà la rete/Growing it will raise the net he enclosed the top of a tree in a net weighed down with plants; while in L'albero ricorderà il contatto/The tree will remember the contact, he pressed his body to a tree, marking the points of contact with the trunk in barbed wire. In Continuerà a crescere tranne che in quel punto/It will continue to grow except at that point he intervened in the growth processes of a tree by inserting a steel cast of his own hand; over time the tree retained the memory of his gesture. In a stream he immersed a slab of cement of the dimensions of his body with the imprints of his hands, feet and face (La mia altezza, la lunghezza delle mie braccia, il mio spessore in un ruscello/My height, the length of my arms, my girth in a stream).

In the early 1970s, Penone continued to work with his own body by transcribing the textures of his skin and casting his face in plaster. For Turning One's Eyes Inside Out (1970), he was photographed wearing mirrored contact lenses, positing vision as the precise point of separation between self and environment. "The work of the poet," he wrote, "is to reflect like a mirror the visions that his sensibility has given him, to produce the sights, the images necessary to collective imaginings."

Engaging with, and subtly intervening in nature so as to reimagine it in artificial terms, Penone finds ever new ways to mark the persistence of biological life, harmonizing elemental occurrences in terms of his own artistic drive. In each work, he reveals the innate sculptural qualities of natural materials, chiseling marble and casting from nature to expose the deep patterns of growth and time.

In the current exhibition, Riflesso del bronzo/Reflection of bronze (2004) is a wall-mounted work in eight parts, where each dimly reflective, excoriated bronze plaque, successively cast from its immediate predecessor, is, literally, a mirror to time and process. The connection between act and contact, trace and imprint is further explored in Spine d'acacia—Contatto, aprile 2006/Acacia thorns—Contact, April 2006, where Penone painstakingly attached thousands of sharp thorns onto paneled canvas in sweeping whorls. At the center of the composition emerges the impression of a huge pair of lips, as if pressed directly on the canvas in visceral relation with nature.

The tree and its relationship to man is among Penone's most enduring subjects and a seemingly inexhaustible source of inspiration. A series of works Indistinti confini/Indistinct boundaries (2012), with their individual subtitles citing ancient Italian rivers, are bare tree trunks on pedestals, carved with astonishing veracity in ghostly white marble, into which Penone has embedded rusting iron nails and bronze knots. These metal elements eventually leach into and stain the marble, so the work appears to be, in a sense, "alive." Foglie di pietra/Leaves of stone (2013), from which the exhibition takes its title, is a series of sculptures in which tall splints of delicate cast bronze tree branches cradle found fragments of eighteenth-century ornamental stonework inspired by vegetal forms, a meditation on the endurance of nature beyond the passage of manmade culture and history.

Giuseppe Penone was born in 1947 in Garessio, Italy. He lives and works in Paris and Turin. Public collections include Tate Gallery, London; Centre Georges Pompidou, Paris; Musée d´Art Moderne de la Ville de Paris; MAXXI, Rome; Castello di Rivoli, Turin; Stedelijk Museum, Amsterdam; Museum of Modern Art, New York; and Museum of Contemporary Art, Los Angeles. Recent solo exhibitions include Centre Georges Pompidou, Paris (2004); Toyota Municipal Museum of Art, Toyota, Japan (2008); Ikon Gallery, Birmingham, United Kingdom (2009); "Des veines, au ciel, ouvertes," Musée des Arts Contemporains, Grand-Hornu, Belgium (2011); Documenta 13, Kassel (2012); "The Bloomberg Commission: Giuseppe Penone," Whitechapel Art Gallery, London (2012); "Penone Versailles," Château de Versailles, France (2013); Kunstmuseum Winterthur, Switzerland (2013); "Ideas of Stone (Idee di pietra)," Madison Square Park, New York (2013-14); and "Giuseppe Penone: Being the River, Repeating the Forest," Nasher Sculpture Center, Dallas (through January 10, 2016). Penone co-represented Italy in the 52nd Venice Biennale (2007). He was awarded the Praemium Imperiale by the Japan Art Association in 2014. Gravity and Growth, a major outdoor commission for the European Central Bank in Frankfurt, was completed in 2015 and he is currently working on a permanent commission for the Louvre Abu Dhabi in UAE. An exhibition of his work is planned at the Rijksmuseum, Amsterdam in 2016.


開幕酒會: 

在我們想像中,大理石和鈣質的樹幹包含碳、植物、偽裝成青銅色的植物、青銅的色彩、樹木和葉子的綠色,還有流過地下世界的物質、水和河流,以及像山洞中大理石礦脈一樣藏在身體內的血脈。
—吉賽佩‧貝諾內

香港高古軒畫廊欣然呈獻吉塞普·佩諾內(Giuseppe Penone)於香港的首個畫廊展覽,展出其過去十年的力作。

從事創作四十多年期間,佩諾內深入探索人類、自然及藝術之間的微妙關係。他的作品以詩意的方式演繹貧窮藝術顛覆傳統媒介的理念,突顯人類及植物所共有的呼吸、成長及衰老的自然過程。

於1968年12月,佩諾內在意大利加雷肖居所附近的樹林進行一連串創作項目。其中,於名為《我把三棵樹交織》(Ho intrecciato tre alberi / I have interwoven three trees)的作品中,他將三株幼樹的樹幹纏在一起,而於《樹木/鋅線/銅》(Albero/filo di zinco/rame / Tree/wire of zinc/copper)中,他以鐵釘在樹幹上印上手印,然後加上22(他當時的年齡)塊鉛塊,再以鋅線和銅線連起。在《生長會提高繩網》 (Crescendo innalzerà la rete / Growing it will raise the net)中,佩諾內以網罩住樹頂,並以植物固定;而在《接觸樹木的烙印》(L'albero ricorderà il contatto / The tree will remember the contact)中,他將身體壓在樹上,然後用帶刺的鐵絲標示接觸的位置。在《它會繼續生長,除了那一點》(Continuerà a crescere tranne che in quel punto/It will continue to grow except at that point)中,他根據自己的手打造鋼模,然後將鋼模插入樹幹,阻礙樹木生長,而樹木亦隨時間記錄了其舉動的痕跡。另一項名為《我在溪流中的身高、手長、 腰圍》(La mia altezza, la lunghezza delle mie braccia, il mio spessore in un ruscello / My height, the length of my arms, my girth in a stream)的作品中,他將一塊有其雙手、雙足和臉部印記的水泥板浸入溪流中。

在70年代初,佩諾內繼續運用身體創作,為臉部製作石膏模,重現皮膚的紋理。在《顛覆 眼睛》(Turning One’s Eyes Inside Out)(1970)中,他佩戴反光隱形眼鏡拍照,將視野變成自身與環境的準確分界線。他曾寫道:「詩人的作品就像鏡子一樣反映自己看到的世界,投影出自 己的視野,亦即集體想像所需的影像。」

佩諾內透過接觸及巧妙地介入大自然,以人工的方法再現大自然,並發掘各種嶄新方式表達生命的堅韌不拔,利用個人的藝術創作調和自然事件。在每一件作品中,佩諾內都展現了天然素材的內在雕塑特質,透過雕鑿大理石及為自然材料鑄模,展現成長和時間的深層模式。

於此次展覽中,《青銅的反射》(Riflesso del bronzo/Reflection of bronze)(2004)是由八個部分組成的掛牆作品,每一塊表面粗糙、隱約反光的青銅板都按照上一塊鑄造而成,成為反映時間和過程的一面鏡子。佩諾內 於《合歡樹尖刺—接觸》(Spine d'acacia—Contatto, aprile/Acacia thorns—contact)(2006)中進一步探索行為與接觸、痕跡與烙印之間的關係,他將數千根尖刺插入已錶框的畫布上,形成螺旋紋,中央則顯現 一對巨型嘴唇形跡,彷彿大自然直接在畫布上留下印記。

佩諾內經常以樹木及其與人類的關係作為創作題材,並從中發掘無限靈感。在《模糊界線》 (Idistinti confini/Indistinct boundaries)(2012)系列作品中,每件作品的副標題均引用一條古老的意大利河流,佩諾內將光禿的樹幹放在仔細雕琢的純白大理石底座上,並嵌 上生鏽鐵釘及銅線結,鐵釘及銅線的鏽痕慢慢滲入大理石,故作品在某程度上而言擁有生命。與展覽同名的作品《石葉》(Foglie di pietra/Leaves of stone)(2013)是一系列精鑄而成的青銅雕塑,青銅長樹枝環抱十八世紀的植物形態裝飾石雕碎片,藉此思考大自然超越人類文化及歷史的堅忍韌力。

吉塞普·佩諾內1947年生於意大利加雷肖,現於巴黎及都靈居住及從事創作。他的作品 於多個公共博物館展出,包括倫敦泰特美術館、巴黎龐比度中心、巴黎現代藝術博物館、羅馬國立當代藝術博物館、都靈利沃利城堡、阿姆斯特丹市立博物館、紐約 現代藝術博物館及洛杉磯當代藝術博物館。他近期亦舉行多場個人展覽,包括巴黎龐比度中心(2004)、日本豐田市美術館(2008)、英國伯明翰聖像畫廊 (2009)、比利時大奧爾尼現代藝術博物館「des veines, au ciel, ouvertes」(2011)、第13屆卡瑟爾文獻展(2012)、倫敦白教堂藝廊「The Bloomberg Commission: Giuseppe Penone」(2012)、法國凡爾賽宮「Penone Versailles」(2013)、瑞士溫特圖爾美術館(2013)、紐約麥迪遜廣場「Ideas of Stone (Idee di pietra)」(2013–14)及達拉斯納西爾雕塑中心「Giuseppe Penone: Being the River, Repeating the Forest」(展期至2016年1月10日)。貝諾內為第52屆威尼斯雙年展(2007)的意大利聯席代表,並於2014年獲日本美術協會頒發「高松宮 殿下記念世界文化賞」。他於2015年為法蘭克福歐洲中央銀行創作大型室外作品《重力與成長》(Gravity and Growth),現時則為阿聯酋阿布扎比羅浮宮創作永久館藏。他亦計劃於2016年在阿姆斯特丹國家博物館舉行作品展覽。

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