北京保羅·治奧利個展

北京保羅·治奧利個展演出信息

“選集/類比：電影及攝影作品（1969年至2019年）”——意大利藝術家保羅·治奧利個展

藝術家：保羅·治奧利

策展人：布魯諾·迪·馬里諾、老羅

主辦：卡努多協(xié)會

協(xié)辦：三影堂攝影藝術中心

展期：2021.06.26-2021.08.29（周一閉館）

開幕對談及媒體發(fā)布會：2021.06.26 4pm-5pm

本項目由意大利當代創(chuàng)新總司（2020年）支持

展覽介紹：

三影堂攝影藝術中心將榮幸呈現(xiàn)意大利藝術家保羅·治奧利的個展。本次展覽由布魯諾·迪·馬里諾教授和老羅策展，是繼2007年藝術家在意中藝術 工作室798空間中國首展的第二次國內(nèi)展覽。

Three Shadows Photography Art Centre is honored to launch a great show of the Italian artist Paolo Gioli curated by prof. Bruno Di Marino and Rosario Scarpato. This is the second exhibition of the artist in China after the successful show organized by offiCinaBeijing in its art space at the 798 Art Factory in 2007.

題為“保羅·治奧利：選集/類比”的展覽項目由安東尼奧·穆席（Antonio Musci）和丹妮拉·迪·尼索（Daniela Di Niso， 卡努多協(xié)會）組織，包括 兩場在意大利和一場在中國的展覽，同時將組織一系列關于藝術家1969年至2019年實踐的展覽活動。治奧利的主要藏家保羅·瓦帕（Paolo Vampa）為展覽提供了大部分的作品。展覽圖錄由席爾瓦那出版商（Silvana Editoriale）出版，收錄了數(shù)位國際藝評家和學者的三語文章。

Paolo Gioli: Anthological/Analogue is organized by Antonio Musci and Daniela Di Niso (Cineclub Canudo) and consists of three exhibitions, two in Italy and one in China, together with a series of side events on the artist’s practice (1969-2019). Most of the artworks are supplied by Paolo Vampa, Gioli’s main collector. Published by Silvana Editoriale, the catalogue contains essays in three languages by several international art critics and scholars.

ANTHOLOGICAL/ANALOGUE

選集/類比

Films and photographic works (1969-2019)

電影及攝影作品（1969年至2019年）

Artist

藝術家

Paolo Gioli

保羅·治奧利

curators

策展人

Bruno Di Marino  , Rosario Scarpato

布魯諾·迪·馬里諾、老羅

Organizer

主辦

Cineclub Canudo

卡努多協(xié)會

Co-organizer

協(xié)辦

Three Shadows Photography Art Centre

三影堂攝影藝術中心

Supporter

支持

Project supported by the Italian Council (8th Edition, 2020), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture

本項目由意大利當代創(chuàng)新總司（2020年第八屆）支持，旨在推廣意大利當代藝術。

Opening

開幕時間

26.06.2021 4pm.

2021年6月26日下午4點

Duration

展覽日期

26.06 – 29.08.2021

2021年6月26日至8月29日

Address

地址

Three Shadows Photography Art Centre, Beijing

北京市朝陽區(qū)草場地155A

關于展覽

About the exhibition

三影堂攝影藝術中心將榮幸呈現(xiàn)意大利藝術家保羅·治奧利的個展。本次展覽由布魯諾·迪·馬里諾教授和老羅策展，是繼2007年藝術家在意中藝術工作室798空間中國首展的第二次國內(nèi)展覽。

Three Shadows Photography Art Centre is honored to launch a great show of the Italian artist Paolo Gioli curated by prof. Bruno Di Marino and Rosario Scarpato. This is the second exhibition of the artist in China after the successful show organized by offiCina Beijing  in its art space at the 798 Art Factory in 2007.

題為“保羅·治奧利：選集/類比”的展覽項目由安東尼奧·穆席（Antonio Musci）和丹妮拉·迪·尼索（Daniela Di Niso， 卡努多協(xié)會）組織，包括兩場在意大利和一場在中國的展覽，同時將組織一系列關于藝術家1969年至2019年實踐的展覽活動。治奧利的主要藏家保羅·瓦帕（Paolo Vampa）為展覽提供了大部分的作品。展覽圖錄由席爾瓦那出版商（Silvana Editoriale）出版，收錄了數(shù)位國際藝評家和學者的三語文章。

Paolo Gioli: Anthological/Analogue is organized by Antonio Musci and Daniela Di Niso (Cineclub Canudo) and consists of three exhibitions, two in Italy and one in China, together with a series of side events on the artist’s practice (1969-2019). Most of the artworks are supplied by Paolo Vampa, Gioli’s main collector. Published by Silvana Editoriale, the catalogue contains essays in three languages by several international art critics and scholars.  

From the series Omaggio impuro a Bayard 

選自向巴耶爾不純粹的致敬系列

1983，70 x 55 cm

Polaroid color print transfer on drawing paper. Pinhole photograph

由彩色寶麗來轉印至畫紙，針孔成像

此次展覽將于6月26日至8月29日在中國呈現(xiàn)100多件作品。展覽分為四個板塊：“自然、身體、面孔、媒介”，除了展現(xiàn)大小不一的寶麗來攝影作品之外，還將進行相關主題電影作品的展出。為了與美術館的包豪斯建筑結構相融合，展覽采用了線性的參觀路線，讓觀眾更好地體驗技術、設備和語言之間的轉換。因此，治奧利創(chuàng)作中的人體、胸部、軀干、靜物（花朵、樹葉），分解和重組的面孔，向先驅藝術家的致敬（19世紀大師如馬雷、卡梅倫、伊肯斯和他膠片幀中的石板印刷），將我們所處的現(xiàn)實與藝術家想象的世界進行并置。在某些作品中，如以希臘和羅馬的肖像學為主題的“發(fā)光”系列攝影作品，治奧利選擇以古典藝術形式來有效地表現(xiàn)其想象中的內(nèi)容。展廳的六個放映區(qū)的作品將展現(xiàn)一份對于藝術家電影創(chuàng)作的完備調(diào)研。他的電影創(chuàng)作，除了極少數(shù)例外，都使用膠片拍攝手段，并在創(chuàng)作中采用了類比的方式。其中，實驗性的影片，如Film stenopeico或Filmfinish是用拆除重要組件的相機，甚至在不使用相機的情況下拍攝的（動畫、舊片重制、針孔拍攝、照片加工、定格動畫、遮幅等)。

With more than 100 outstanding works, the show has finally moved to China from June 26 to August 29. It is divided in four sections, Nature Body Face Medium, featuring big and small Polaroids displayed in dialogue with several films whose themes are very much connected to them. To be nicely adapted to the architectural Bauhaus-structure, the exhibition has been set up following a linear itinerary so that the visitor can experience the trespassing between techniques, devices and languages. Therefore, Gioli’s bodies, chests and torsos with his still lives (flowers, leaves), his decomposed and recomposed faces, his thoughts towards the pioneers (homage to XIX century’s masters such as Marey, Cameron, Eakins and the lithographs from his film frames) create a constant parallel between our reality and those imaginary worlds of the artist. In some cases, such as the Luminescenti photos, whose main subject is represented by Greek-Roman iconography, the very same classical art is the effective matter of Gioli’s choice to be elaborated in his imagination. An almost complete survey of Gioli films will be also screened in the photography center in six projection’s areas. All his films, with very few exceptions, were made in analogue, using film-stock. The most experimental ones, like Film stenopeico or Filmfinish were realized with a camera deprived of its essential components or with no camera at all (animation, found-footage, pinhole shootings, elaborations from photos, stop-motion, mattes, etc).

From the series L  選自L系列

1997，60 x 50 cm

Polaroid  寶麗來

保羅·治奧利身兼畫家、攝影師、電影制作人，是過去幾十年間具有創(chuàng)新精神的意大利藝術家之一。最重要的是，他在各個不同的領域，都能以同樣的技能廣泛實驗，同時通過重組設備，改造甚至移除部件的手段進行新的嘗試。他的實驗電影、繪畫和攝影作品被芝加哥藝術學院、紐約現(xiàn)代藝術博物館、蓬皮杜藝術中心、巴黎歐洲攝影博物館、意大利現(xiàn)代藝術博物館、羅馬國際繪圖研究所等重要公共機構收藏。近期，他的攝影作品進入了梵蒂岡博物館的當代藝術收藏。他多面性的創(chuàng)作跨越了五十余載，盡管極具多樣性，但仍然保持統(tǒng)一。他的審美受到了十九世紀影響先驅作品的兩種媒介的影響，在當時，攝影仍在發(fā)展，電影尚未發(fā)明。因此，藝術家在十分早期就能夠在靜止和動態(tài)影像之間展開對話，并產(chǎn)生了引人深思的結果。正是為了強調(diào)這位“媒介考古學家”內(nèi)心深處的單純本性，展覽標題中加入了“類比”這一形容詞。

Painter, photographer, film-maker, Paolo Gioli is one the most innovative Italian artists of the last decades. Above all, for his ability to experiment with equal skillness in different fields, also by altering his devices, removing parts of or even eliminating them. His experimental films as well as his paintings and photographs are in the collection of several prime public institutions  such as the Art Institute of Chicago, the Museum of Modern Art in New York, the Centre Georges Pompidou and the MEP (Musée Européen de la Photographie) in Paris, the Galleria Nazionale d’Arte Moderna and the Istituto Nazionale per la Grafica in Rome. Lately, his photographs have entered even in the Collezione Arte Contemporanea of the Vatican museum. A multifaceted production, spreading over more than fifty years, which, although very diversified, remains consistent. His aesthetic is connected to the origin of the two medium that means to the works of the pioneers of the XIX century when photography was still developing and the cinema was yet to be invented. A very early stage, therefore, where the artist is able to facilitate a dialogue between fixed and moving image with surprising and stimulating results. It is to highlight that deeply unsophisticated nature, an archaeologist of media, that the adjective “analogue” has been added to the title of the show. 

From the series Botanic specimen

選自植物標本系列

1988，25 x 17 cm

Polaroid color print type 59, applied on drawing, paper 

59型號彩色寶麗來轉印至畫紙

此前，“選集/類比：電影和攝影作品（1969年至2019年）”于2021年3月5日至5月9日在萊切阿普利亞大區(qū)最古老的考古博物館卡斯特羅·梅蒂亞諾博物館展出了近200件作品，主要包括巨型寶麗來、電影和石板印刷作品，以突顯博物館展出藏品與當代藝術之間的對比。該項目的平行展覽“只是屏幕”于3月6日在比謝利市十六世紀的圖普蒂宮大廳展出，呈現(xiàn)了治奧利在七十年代創(chuàng)作的一系列丙烯和絲網(wǎng)畫。它們與文藝復興時期的場所和華麗的宮殿壁畫建立起某種討論。這些作品來源于他電影的膠片 (《精神創(chuàng)傷》或《被寄生蟲嚴重干擾的圖像》)和/或他的攝影作品（針孔攝影或條帶攝影），兩者將形成一種關于主題性和創(chuàng)作過程的交流。

Previously, ANTHOLOGICAL/ANALOGUE Films and photographic works (1969-2019) was hosted in Apulia region’s most ancient archeological museum, Castromediano, in Lecce from March 5 to May 9, 2021 displaying almost two hundreds works, mainly large Polaroids, films and portfolios of lithographic prints to highlight a confrontation between the pieces of the collection the museum is showing with the contemporary art. The second leg of the project opened on March 6 in the XVI century’s halls of Palazzo Tupputi in Bisceglie. Just Screens presented a series of acrylic and silk-screen paintings made by Gioli during the 70’s. They established a sort of discussion with both the Renaissance venue and the frescoes of the beautiful Palace. As an alchemical exchange of themes and processes, these works are derived from frames of his films (Traumatografo or Immagini disturbate da un intenso parassita) and/or from his photographic works (pinhole or strip photographs).

From the series Fiori secchi

選自干花系列

1997，50 x 35 cm 

Polaroid b/w print transfer on drawing paper

由黑白寶麗來轉印至畫紙

關于藝術家

About the artist

保羅·治奧利（Paolo Gioli）1942年10月12日出生于意大利羅維戈（Rovigo）的薩扎諾（Sarzano）。1960年，治奧利開始了在威尼斯數(shù)年的定居生活，并就讀于當?shù)氐拿佬g學院（Academy of Fine Arts）。1967年，他前往紐約并留駐一年。曾獲得波士頓約翰·卡伯特基金會（John Cabot Foundation of Boston）的研究資助，結識了藝術品經(jīng)銷商利奧·卡斯特利（Leo Castelli）和瑪莎·杰克遜（Martha Jackson）。在美國，他還接觸了“新美國電影”。

Paolo Gioli was born in Sarzano (Rovigo) on 12 October 1942. In 1960, Gioli settled for a few years in Venice, where he attended the Scuola Libera del Nudo, part of the Academy of Fine Arts. In 1967, he travelled to New York, where he remained one year. He received a study grant from the John Cabot Foundation of Boston and met with art dealers Leo Castelli and Martha Jackson. In America, he also discovered the “New American Cinema.”

From the series Omaggio a Niépce 選自向尼普斯致敬系列

1982，35x25cm

Assemblage of Polaroid type 59 and Polaroid color print transfer on silk, applied on drawing paper, graphite and pastels 由多張59型號的彩色寶麗來轉印至絲綢布，拼貼于畫紙，石墨，蠟筆

1970年，他搬至羅馬后接觸到了獨立電影合作社（Cooperativa Cinema Indipendente）。治奧利穿梭于羅馬和羅維戈兩地之間，跟隨盧米埃爾兄弟的腳步，把相機作為他的實驗室，獨立制作出了他最初的一批電影。1976年，治奧利移居米蘭。在那里，除了制作電影以外，他加深了對攝影的興趣。值得注意的是，治奧利發(fā)現(xiàn)可以使用寶麗來這種非常靈活的手段來進行他的攝影研究。此外，通過將材料轉移到紙張或畫布等非膠片的載體上，治奧利將寶麗來提升到了美術的水平。

In 1970, he moved to Rome, where he got in touch with Cooperativa Cinema Indipendente. It was between Rome and his home near Venice that he produced his first films, which he developed himself, using a camera as his laboratory, following in the footsteps of the Lumières. In 1976, he moved to Milan, where, in addition to making films, he also deepened his interest for photography. Notably, Gioli found the Polaroid to be a surprisingly flexible means with which he could carry out his research in photography. Moreover, by transferring the film onto support other than the original, such as onto paper or canvas, Gioli elevated the Polaroid to the level of the fine arts.

Questo volto non è il mio volto, from the series Vessazioni 

這不是我的面孔

2010，70 x 55 cm

Polaroid color print and Polaroid transfer on acrylic

由彩色寶麗來和寶麗來轉印至丙烯

20世紀80年代初，治奧利的攝影活動開始獲得重要機構的認可：意大利國立繪圖研究所（Istituto Nazionale per la Grafica）（1981年）、巴黎蓬皮杜中心（1983年）、阿爾勒國際攝影節(jié)（Rencontres Internationales de la Photographie in Arles）。他曾多次受邀在阿爾勒參展，如阿爾勒勒杜博物館（Arles’ Réattu Museum ）（1987年）。他的作品還曾作為國際攝影經(jīng)銷商協(xié)會（ the Association of International Photography Art Dealers）博覽會圖錄的封面。2006年，Rarovideo發(fā)行的雙盤DVD精選了治奧利的14部電影。同年，他的電影在紐約電影節(jié)（New York Film Festival）實驗電影特別項目“先鋒視角”（Views from the Avant-Garde）中首映。之后的幾年，他的作品連續(xù)在這一項目中亮相。

 In the early eighties Gioli began to get significant recognition for his activities in photography: with a solo show at the Istituto Nazionale per la Grafica di Roma (1981), at the Centre Pompidou in Paris (1983), at the Rencontres Internationales de la Photographie in Arles – a city where he was invited to exhibit several times, including a solo exhibition at Arles’ Réattu Museum (1987). His work was featured on the cover of the Association of International Photography Art Dealers’ AIPAD) fair’s catalogue. In 2006, Rarovideo published a two-set DVD with a selection of fourteen of his films. That same year, Gioli’s films were showcased for the first time in Views from the Avant-Garde, the New York Film Festival’s specialized program for experimental film, where Gioli would consistently present his work in subsequent years.

From the series Volto più linea

選自面孔與線條系列

1994，35 x 25 cm

Cibachrome, applied on drawing paper 

西巴克羅姆轉印至畫紙

次年，他受邀作為“聚焦藝術家”參加第44屆中國香港國際電影節(jié)（Hong Kong International Film Festival）。自此，治奧利每年都受邀在該電影節(jié)上展出他的新作品。2008年，治奧利的電影選集在多倫多安大略省電影館（Ontario Cinémathèque）展出。隨后，他參加了多倫多國際電影節(jié)（Toronto lnternational Film Festival）的先鋒單元“波長”。2009年6月，佩薩羅電影節(jié)（Pesaro Film Festival）和次年在巴黎法國電影館（Cinémathèque Fran?aise）的活動全方面回顧了治奧利的電影，以向他致敬。2009年12月，羅馬電影研究中心（Centro Sperimentale di Cinematografia）出版了一本專著，總結了他作為電影制作人的貢獻。2014年夏天，美國藝術雜志《藝術論壇》刊登了一篇關于他的重要專題文章。

That following year, Gioli was invited as an artist on focus to the 44th Hong Kong International Film Festival, where he was since then invited each year to present his latest work. In 2008, a selection of his films were presented at the Ontario Cinémathèque in Toronto. He subsequently participated in the Toronto lnternational Film Festival’s avant-garde section, Wavelength. In June 2009, the Pesaro Film Festival paid a tribute to Gioli with a complete retrospective of his films, as did the Cinémathèque Fran?aise in Paris the following year. In December 2009, the Centro Sperimentale di Cinematografia (CSC) in Rome published a monograph on his work as a filmmaker. In the summer of 2014, the American art magazine Artforum featured a major article on him.

Volto 

面孔

1988，Size invented by the artist, 40 x 35 cm

Polaroid color print. Size invented by the artist 

彩色寶麗來

2015年，治奧利的第二張DVD開始發(fā)行。作為作品全集，它再次由Rarovideo出版，兩個版本分別面向歐洲和美國市場。同年，治奧利參加了第56屆威尼斯雙年展國際藝術展（ International Art Exhibition of the Venice Biennale），在意大利館展出了他的作品選集。繼各大博物館和美術館舉辦的一系列個展之后，在2020年，由菲利普·杜布瓦（Phlippe Dubois）和安東尼奧·索馬尼（Antonio Somaini）為首的巴黎第三大學（Sorbonne III）教授團隊，出版了一本法語版的治奧利全集，名為《保羅·治奧利：野生印象》(Paolo Gioli：Impressions sauvages)，由實質出版社（Les Presses du Réel）編輯。治奧利的電影由羅馬電影實驗中心（Centro Sperimentale di Cinematografia）和巴黎光孔電影中心（LightCone）發(fā)行。其作品由羅馬凱姆巴洛畫廊（Galleria del Cembalo）代理。治奧利目前在倫迪納拉（Lendinara）生活和工作（www.paologioli.it）。

In 2015, a second DVD was released with his complete works, again, published by Rarovideo with two editions: one for the European market and another for the American one. That same year, Gioli participated in the 56th International Art Exhibition of the Venice Biennale, where he presented a selection of his works at the Italian Pavilion. After a series of solo exhibitions at various museums and art galleries, in 2020, a team of professors from the Sorbonne III headed by Phlippe Dubois and Antonio Somaini published a volume in French on Gioli’s complete works entitled, Paolo Gioli. Impressions sauvages, edited by Les Presses du Réel. Gioli’s films are distributed by Centro Sperimentale di Cinematografia in Rome and by LightCone in Paris. For his artworks, Gioli is represented by Galleria del Cembalo in Rome.

Gioli currently lives and works in Lendinara, Italy (www. paologioli.it).

關于策展人

About curators

老羅

1988年至2012年，在中國生活和工作。

2002年，他在北京798藝術區(qū)成立了offiCina意中藝術工作室。截至2012年，他與美術館、博物館和私企合作，組織了50多場藝術展覽與文化活動。

老羅幫助意大利的機構、博物館、美術館、收藏家和私人公司與中國建立起文化橋梁。他與公共和私營機構合作，舉辦講座，策劃和組織意大利與中國的當代藝術展覽、文化活動和視頻、電影放映活動。目前，他特別專注于與歐洲委員會（斯特拉斯堡）和意大利文化部在羅馬合作的意大利、歐洲和中國之間的國際藝術、設計與建筑項目。

Rosario Scarpato

Lived and worked in China from 1988 to 2012.

He set up an art gallery, offiCina Beijing in 798 factory from 2002 till 2012 curating more than 50 exhibitions and promoting italian and chinese contemporary art both in china and europe.

He helps national institutions, museums, art galleries, collectors and private companies in building cultural bridges with China. He gives lectures, curates and organizes contemporary art shows, cultural events, and video/film screenings between Italy and China/Far East countries in cooperation with public and private institutions. At present, he is particularly focused on int’l art/design/architecture projects between Italy/Europe and China both in coop with European Commission (Strasbourg) and the Italian Ministry of Culture in Rome.

布魯諾·迪·馬里諾

(1966年生于意大利薩萊諾)是一位研究動態(tài)圖像的藝術史學家，尤其專注于視聽實驗、新媒體以及電影與其他藝術領域（視覺藝術、設計、建筑、攝影、音樂）之間的關系。自1990年起，他在意大利和國外的各所大學和藝術學院舉辦講座、研討會和會議。目前，他在羅馬弗羅西諾內(nèi)美術學院（Accademia di Belle Arti in Frosinone, Rome）教授大眾傳媒理論和方法以及美學。

Bruno Di Marino

(Salerno, 1966) is an art historian of moving images, particularly specialized in audiovisual experimentation, new media and relationships between cinema and other artistic fields (visual arts, design, architecture, photography, music). Since 1990 he gives lectures, workshops, conferences in various universities and art academies both in Italy and abroad. At present, he teaches Theory and method of mass media and also Esthetic at Accademia di Belle Arti in Frosinone (Rome).

From the series Maschere

選自面具系列

1992，Size invented by the artist，40 x 35 cm

Polaroid color print transfer on paper, egg-yolk, graphite

由彩色寶麗來轉印至畫紙，蛋黃，石墨

Ispezione e tracciamento sul rettangolo

矩形檢查和跟蹤

1975，100 x 70 cm

portfolio containing 8 litographs

包含八幅平版印刷畫

From the series Sconosciuti 

選自陌生人系列

2015，40 x 30 cm

Gelatin silver print

明膠鹵化銀