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專訪 喬治·康多 George Condo

2018-03-22 15:28亞洲藝術新聞

喬治·康多 George Condo 圖片提供 Skarstedt、Sprüt...
喬治·康多 George Condo 圖片提供 Skarstedt、Sprüth Magers
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George Condo3月27日至4月6日,將會在香港海事博物館推出【Expanded Portrait Compositions】個展,這是他首度在香港的展覽。《當代藝術新聞》在他忙碌的工作當中,特地專訪了這位備受國際新貴藏家喜愛的美國藝術家,從他首度亞洲展到他的藝術心境;娓娓道出箇中因緣。George Condo的藝術,徹底展露所謂「心理立體主義Psychological Cubism」,他的肖像畫,深深觸動了現代人心理,只因為現代人內在性格豈止只有一個模樣呢?一個預知型的未來藝術家,在自己的藝術裡面實踐對云云眾世的觀察,而我們也從他的藝術中;享受了對生命的另類啟發。

當代藝術新聞:你為何會選擇來亞洲香港展覽,這次展出會以什麼作品及樣式呈現?

Chinese Contemporary Art News: What made you decide to have your first solo exhibition in Hong Kong this year? What kind of works will be presented and how will the exhibition be organized?

喬治·康多:此次展覽將涵括了8幅油畫及5幅紙上作品,這些作品都是我對人物心理狀態,及繪畫技巧、媒材質感上的探索。在香港展出的這些畫作講述著,人們在這個焦慮現世裡的心理狀態,並傳達出人類的精神是永遠不會被世界上各種侵略和分歧所摧毀──這種藝術有時比言語更有說服力。

會選擇來香港展出,因為這是我第一次真正有機會在一個「畫廊」以外的空間展出。海事博物館看起來非常棒,我為此感到興奮。

George Condo: The exhibition will consist of 8 paintings on canvas and 5 works on paper. They are explosive explorations into the human psyche and the possibilities of paint and texture. These paintings I'm showing in Hong Kong will tell the story of our states of mind in this ever-anxiety-ridden moment and will express the human spirit that can never be destroyed by aggression and divisiveness in the world - that art speaks louder than words sometimes.

It was the first opportunity I really had to make an exhibition out of a "gallery" space. The maritime museum looks really great. That's what got me excited about it.

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Laughing and Screaming 2017

© George Condo / ARS (Artists Rights Society), New York, 2017 Courtesy of the artist and Skarstedt, New York and Sprüth Magers, Berlin, London, Los Angeles

當代藝術新聞:據瞭解,George Condo在全球只有與3家畫廊合作。其中兩家為這次幫George Condo組織來香港的畫廊Skarstedt與Sprüth Magers,還有就是倫敦的Simon Lee畫廊。想瞭解為什麼只與這3家畫廊合作,這3家畫廊性質合作起來有什麼不同?

Chinese Contemporary Art News: As far as we know, George Condon only collaborates with three galleries worldwide. And Skarstedt Gallery and Sprüth Magers Gallery will be in charge of the exhibition in Hong Kong this time. For what reason do you only choose to collaborate with these galleries and what are the differences in terms of collaborating with these galleries?

喬治·康多:我會跟這些畫廊合作是因為這些是我主要的代理畫廊。每間畫廊提供給我的合作內容都不太一樣,但他們都非常理解我的作品。

George Condo: They are my main representatives world wide. Each of them have something different to offer in their programs and each have a great understanding of my work.

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Brainscape 2018

© George Condo / ARS (Artists Rights Society), New York, 2017

Courtesy of the artist and Skarstedt, New York and Sprüth Magers, Berlin, London, Los Angeles

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Deconstructed Reconstruction 2018

© George Condo / ARS (Artists Rights Society), New York, 2018 Courtesy of the artist and Skarstedt, New York and Sprüth Magers, Berlin, London, Los Angeless

當代藝術新聞:在亞洲,你是否考慮過選擇任何一間亞洲畫廊代理你的畫作?

Chinese Contemporary Art News: Have you considered to work with any galleries in Asia and have them represent your work in the Eastern market?

喬治·康多:目前我比較專注於美術館的展覽上,這將會是在亞洲令人非常興奮的事。

George Condo: At the moment I am concentrating on museum exhibitions and that would be very exciting in Asia.

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Photography by Martine Franck 2008

© Magnum Photography

當代藝術新聞:是否有你最喜歡、對你產生過直接影響的藝術家?

Chinese Contemporary Art News: Is there any artist who has had a direct impact on your work?

喬治·康多:從希臘雕塑家普拉克西特列斯至畢卡索…在繪畫的歷史上有無數不盡的藝術家對我作品產生了影響。

George Condo: There are numerous artists in the history of painting… everyone from Praxiteles to Picasso.

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Collusion 2017

© George Condo / ARS (Artists Rights Society), New York, 2018

Courtesy of the artist and Skarstedt, New York and Sprüth Magers, Berlin, London, Los Angeles.

當代藝術新聞:我們知道你與安迪沃荷、巴斯奎特和凱斯‧哈林都曾熟識,能否談談這三位藝術家與你的互動?

Chinese Contemporary Art News: We know you were friends with Andy Warhol, Basquiat and Keith Haring, could you talk about your interaction with these three artists?

喬治·康多:這些人在不同的時期、地點,都曾是我非常親密的朋友。當我在巴黎和洛杉磯時候,我經常跟巴斯奎特一起結伴出遊──因為我們總是會在同個時間、同個地點相會;在紐約的時候,我倒不常跟巴斯奎特見到面,但卻總是碰見凱斯,我還在他的工作室裡作畫過。至於安迪,我們常一起吃晚飯,因為我們都住在城裡……我們總是一起坐計程車回家,整路上都在聊天。

在安迪‧沃荷工廠的那份工作真是太美好了。那是1981年,我大約23歲的時候。我當時想成為一名全職藝術家,這是我離開樂團後在紐約開啟生活的完美方式。當沃荷在我東村的第一場展覽中購買了幾件時,我感到非常榮幸。在商業上取得成功之前,我一直認為自己最好成為「藝術家認同的藝術家」,這才是一個真正的核可標章。雖然他從來不知道我早幾年前曾為他工作過──我從不敢告訴他,畢竟,我當時只是生產線上渺小的一個環節,我跟他最多碰過一或兩次面,都只是為了拿一些沖印片至他的辦公室而已。直到1984年之後,我們才成為朋友。

George Condo: All of them were at various times and places very close friends. I hung out with Jean-Michel mostly in Paris and Los Angeles -- we always were in the same places at the same time. In New York I didn't really see him too much, but I saw Keith there all the time and painted in his studio. Andy, I would have dinner with and because we both lived uptown… we would always take a taxi home and have a great chat all the way.

Working that job at Warhol's was amazing. It was 1981, I was like 23 years old and it was the perfect way to begin my life in New York after I quit the band and just wanted to be an artist full time. When Warhol did buy a few pieces in one of my first shows in the East Village I was very honored. I always thought better to be an "artist's artist" first and foremost before any commercial success. That's a true stamp of approval. Though he never knew I actually worked for him a few years earlier - I never dared to tell him. Anyway, I was the diamond duster on the production line and never even met him more than once or twice, just to deliver some prints to his office, until after 1984 then we became friends.

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George Condo painting Facebook 2017

Photograph by Benjamin Provo

Courtesy of the artist and Skarstedt, New York and Sprüth Magers, Berlin, London, Los Angeles

當代藝術新聞:在你的繪畫中彷彿看到Picasso跟Bacon的結合,不僅有Picasso的立體主義又有Bacon的肖像繪畫的表象,但你又加了普普風格跟超現實主義?能講講是如何創造出自己如此標誌性的風格?

Chinese Contemporary Art News: In your paintings, we see the combined influence of Picasso and Bacon, not only with Picasso's Cubism but also with Bacon's portraits. You also appear to blend Pop art and surrealism. Could you talk about how you created your own iconic and unique style?

喬治·康多:我一直都堅信融匯各種風格的重要,即便從最初的創作,我已經開始代換任何及所有藝術史參考文獻中採用的語彙,最後形塑成一個我的獨有圖像。人們可以尋著各種路線圖前進,但最終落點在一個完全未知的地方。

George Condo: I had always believed in synthesizing things ever since the very beginning and I began to interchange languages from any and all art historical references in order to arrive at a singular image that could only be mine. One can see the various roadmaps taken, but end up in a completely unchartered place.

當代藝術新聞:你怎麼看當今跟自己同一輩的藝術家們;甚至晚輩的藝術家們的創作?

Chinese Contemporary Art News: How do you regard the artists of the same generation, or even the artists of younger generations?

喬治·康多:塞奇利‧布朗、約翰‧卡林至克里斯多福‧伍爾都是我熱愛的同輩藝術家。年輕一輩的如拉希德‧約翰遜、安妮•伊姆霍夫和KAWS,這些不同類型和風格都是我喜歡的。當然還有更多其他的藝術家。

George Condo: I have a number of favorite artists of my generation from Cecily Brown to John Currin and Christopher Wool. Younger, its Rashid Johnson, Anne Imhof and Kaws, all different types and styles… plus numerous others.

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Portrait of Kanye West 2010

© George Condo / ARS (Artists Rights Society), New York, 2018 Courtesy of the artist and Skarstedt, New York and Sprüth Magers, Berlin, London, Los Angeles

當代藝術新聞:你的繪畫總是從肖像畫入手,但你又不願規規矩矩去面對肖像畫這個主題,你到底對那些藝術史中的經典肖像有多少「仇」呀?何以你這般對待這些肖像畫呢?你希望這樣的再造與呈現,能帶給觀者什麼?

Chinese Contemporary Art News: Your paintings started with portraits, but you didn't follow the conventions of this type of art. Why did you choose to recompose and fracture the figures? What effect do you wish to deliver to the audience?

喬治·康多:我想在觀者面前打破一種「鏡像」,讓觀眾能一次全面地看見肖像人物在不同的、非連貫的時刻裡,性格裡的各種心理狀態。

George Condo: I want to crack the mirror in front of them and have a viewer see his personality in many different psychological states from various non-sequential moments, all at once.

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Double Heads on Red 2014

© George Condo / ARS (Artists Rights Society), New York, 2018 Courtesy of the artist and Skarstedt, New York and Sprüth Magers, Berlin, London, Los Angeles

當代藝術新聞:你是學藝術史,但又對音樂特別感興趣,而且古典音樂與流行都喜歡,這是一個很有趣的現象,巴斯奎特本身也是一位音樂的愛好者,而你的作品又有相當程度受到中西音樂明星的收藏,你能談談音樂在你繪畫裡的地位嗎?

Chinese Contemporary Art News: You studied Art History and Music Theory in University and fond of music at the same time. Loving both Classical and Pop music. We know Basquiat is also a music lover and notice that there are number of Asian and Western stars/celebrities who collect your artwork. Could you talk about the role of music in your paintings?

喬治·康多:音樂對我來說非常的重要。我就如一個爵士音樂家,他會唱一首每個人都知道的歌曲,並且無限上綱地即興演繹著它……這似乎根源於繪圖的具象性和抽象性的同一種原則裡,我把我聽到的東西寫進了畫作中。

音樂即是我繪畫的一部分。我經常認為我正在將音樂轉化為視覺形式,將我正在傾聽的內容畫成圖像。我經常可以數個月播放同一張CD,然後每天都在為它畫一張圖,就像美國爵士樂家約翰‧柯川的現場演出專輯一樣。我從60年代早期或末期開始就非常喜歡爵士樂……但我不會演奏。像埃里克·多爾菲和邁爾士戴維斯這樣的音樂家都很棒。

我喜歡研究巴哈的線式對位法的編曲,並將和諧與不和諧的符號轉錄成圖像和繪畫。學習音樂理論比繪畫技術更有智識上的幫助。繪畫技巧一直地不斷變化,藝術家手邊就有完整的資料庫,可以翻閱遠至文藝復興時期出版的書籍,學到融合各個大師使用的繪畫顏料和技法……如文藝復興時期的義大利藝術家琴尼諾‧琴尼尼的《匠人手冊》便浮現在我腦海裡。

George Condo: Music is so important. I am like a jazz musician who takes a song everyone knows and improvises on it ad infinitum... it seems to be rooted in the same principle of that which is representational and that which becomes abstract. I transcribe what I hear into paintings.

Music is a part of my painting. I often think I am transcribing music into a visual form and creating a picture of what it is I'm listening to. Often I play the same cd for a few months and just paint to it everyday, like a live Coltrane album. I'm really into jazz from the early/late 60's... but I can't play it. Those musicians like Eric Dolphy and Miles Davis were amazing.

And I love to study the linear or contrapuntal compositions of Bach and transcribe that kind of melodic and dissonant notation into drawing and painting. Learning music theory was far more intellectually useful than painting techniques. Techniques of painting are constantly changing and the artist has the full library of information at hand. One can look at books published as far back as the Renaissance to learn various mixtures of paint and pigments and techniques used by the masters... Cennino Cennini's "Craftsman Handbook" comes to mind.

#罐專訪 #喬治康多 #GeorgeCondo

亞洲藝術新聞

《當代藝術新聞》創立於2005年,以報導亞洲藝術為核心,及世界各地如倫敦、巴黎、紐約……等地區的當代藝術為主,針對各地當代藝術的展覽,及策展人所扮演的角色地位,對當代藝術的發展做最深入即時的剖析報導,我們將持續帶領讀者見證亞洲當代藝術的風起雲湧。

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