關乎色彩|5.19-6.24|白石畫廊

關乎色彩|5.19-6.24|白石畫廊

 

關乎色彩

展 期|2018年5月19日至6月24日
開 幕|2018年5月19日 16:00
策展人馬提奧・加爾比亞蒂

導覽|2018年5月19日 17:00
地 點|白石畫廊・台北市內湖區基湖路一號1F 

更多資訊|www.whitestone-gallery.com


白石畫廊(台北)榮幸地宣布將於2018年5月19日舉辦「關乎色彩」群展開幕。此展覽以紅、白、黃、藍—4種顏色作為主題,呈現4位義大利當代藝術家:納塔列.阿達米亞諾(b. 1943)、阿巴托.比亞希(b. 1937)、皮諾.皮內里(b. 1938)、圖里.斯梅蒂(b. 1929),各自不同的創作理念、靈感與性格。

納塔列.阿達米亞諾《星斗滿天》(I cieli stellate)系列作品表露出藝術家意象的重心與視野,描繪他對傳統含蓄又達意的繪畫之熱情,宣告著如詩般深遠的浪漫主義,得以超越他們吐露出的景色界限。

阿巴托.比亞希的的創作致力於拉近與觀者之間的關係,並在其中揭露出一種時間上和不斷變換的視覺情境下主動的、動態的、更新的互動過程。

皮諾.皮內里的繪畫乘載著元素的形式與觸感,宏觀地彰顯出色彩表皮下裝載的感性;微觀的隱含精髓之中,爆發出極端結果的是打破與祛除「繪畫」統一性,透過(不斷更新為不同色彩的)的符號感知經驗,引領畫作自主性地建立自身與環境及空間彼此間的聯繫。

圖里.斯梅蒂身為1965年在盧齊歐.封塔納(Lucio Fontana)於米蘭的工作室舉辦的《零前衛》(Zero Avantgarde)聯展上聚集的眾多藝術家之一,其繪畫的價值體現在他藝術創作中重複出現的符號,捍衛著自身分析直覺的身份象徵──卵圓形。這就是藝術家自身的識別代表元素,與藝術家本身密不可分,得以透過重複且多元的呈現方式持續更新揭示作品形式概念的畫面中的閱讀性。

此四位藝術家各行其道,確立出鮮活時代的完美總結,於二次大戰後的義大利樹立卓越地研究精神,不僅表達藝術美學之價值,亦是思想藝術家、真實詩人、革命份子和關注各自時代潮流的人之見證。這四位是大師,孜孜不倦的講述者,他們的願景甚至延續至今,以本展精挑細選之鉅作為核心,供人藉此比較與對話

Exhibition|In the Matter of Color
Dated|May 19 – June 24, 2018
Opening|May 19, 2018. 4pm
Curator’s tour with Matteo Galbiati|May 19, 2018. 5pm
Venue|Whitestone Gallery, 1F, No.1, Jihu Rd., Neihu Dist., Taipei

Whitestone Gallery Taipei is honored to announce the opening of exhibition In the Matter of Color on May 19th, 2018. Curated by Matteo Galbiati, this exhibition will showcase how red, white, yellow, and blue are being manifested differently through the works of 4 Italian contemporary artists: Natale Addamiano (b. 1943), Alberto Biasi (b. 1937), Pino Pinelli (b. 1938), and Turi Simeti (b. 1929).

Natale Addamiano’s I cieli stellati, a series of works that represent the epicenter and horizon of his imaginary, describe his passion for a traditionally implicit and expressed painting, the herald of lyrical and profound romanticism, able to surpass the very limits of the landscape they try to pronounce.

Alberto Biasi’s art aims towards a close relationship with the viewer that in it reveals a process of active, dynamic, and renewed interaction in time and in the varying circumstances of sight. Perception and movement, alterations or changes, apparent or virtual, act like innovative elements that strive to acting upon the very structure of the work that constantly changes its physical and intuitive appeal.

Pino Pinelli’s paintings take on the forms and tactility of elements that macroscopically highlight the sensibility manifest in the derma of the color itself; in the micro of the hidden essence what erupts to the extreme consequence is the act of breaking and defeating the unity of the “painting.” The autonomy is thus inferred through the sensible experience of a multiplication of primary signs (renewed in different colors) that lead the painting to live and acknowledge itself in its bond with the environment and the space hosting it.

Turi Simeti – one of the artists present in the 1965 group show Zero Avantgarde in Lucio Fontana’s studio in Milan – lies in having elected a primary element as a multiplying sign of his artistic act, safeguarding the identity of his own personal analytical intuition: the oval. This is the identifying agent cell of his being that, bound indissolubly with the artist’s direct recognizability, is able to renew, in a repeated and diverse constant praxis, the absolute readability of the surface as a place of the painting’s form-concept unfolding.

Independent paths can be found in these four artists, defining an ideal summary of that enlivened season that, in Italy after World War II, affirmed the excellence of research that was not limited to expressing the value of artistic aesthetics, but also grasped the testimony of thinking artists, true poets, revolutionaries, and those attentive to the trends of their own time. These are four masters, untiring narrators, whose vision continues even today and which, in this exhibition, offers an important opportunity of comparison and dialogue through a key core of carefully selected masterpieces.