艺博会｜傅丹的风格并置及个人与历史多重叙事——TEFAF纽约春季艺博会玛丽安 · 古德曼画廊展位 - 玛丽安·古德曼画廊

TEFAF纽约艺博会，玛丽安 · 古德曼画廊展位现场，2019

TEFAF纽约春季艺博会

公园大道军械库

展位：338

2019.05.03-05.07

玛丽安 · 古德曼画廊非常高兴地宣布，参加今年的TEFAF纽约春季艺博会（2019年5月3日—5月7日）。画廊展位将推出傅丹（DanhVō）的装置作品。

TEFAF纽约春季艺博会，玛丽安 · 古德曼画廊展位现场，2019

此次的傅丹专场将展出一组作品，其中包括：艺术家仍在持续创作中的系列《带走我的呼吸》（Take My Breath Away）中的一件雕塑；丹麦艺术家，傅丹从前的教授彼得 · 邦德（Peter Bonde）的画作；艺术家父亲傅冯（Phung Vō）的素描；以及德国摄影师海因茨 · 彼得 · 科涅斯（Heinz Peter Knes）的一组摄影作品。这些风格形式各异的作品并置展出，以诗意的方式将多种艺术及创造性叙事方式穿插在一起。

展出的物件、画作、摄影以及纸上作品，包含了与傅丹来往密切的几位艺术家的创作，具化了傅丹艺术实践的关联进程。此次展览由多人作品共同完成，这也预示了在即将开幕的第58届威尼斯双年展主题展（Central Pavilion）和军械库展(Arsenale)上，傅丹将呈现的计划的观念及策展方向。

TEFAF纽约艺博会，玛丽安 · 古德曼画廊展位现场，2019

在此次TEFAF纽约春季艺博会上，傅丹延续其一贯创作手法，采用现成的文化艺术品，借助它们将主观而私密的叙事和更宏大的历史政治事件联系起来。一双大理石雕的腿脚——它属于一件独立雕塑的残留部分，也是傅丹持续创作中的雕塑系列的一个细节——支撑起整个装置。雕塑展现了当代物性（contemporary objecthood）在时间和地理上的错位，同时亦探索了纪念性和废墟之间的关系。

傅家父子也再次合作。傅丹委托父亲傅冯用其所擅长的花体字，复制了出自斯坦利 · 库布里克（Stanley Kubrick）1980年的电影《闪灵》（The Shining）中的那句著名台词“只用功不玩耍，聪明孩子也变傻”（All work and no play makes Jack a dull boy）。这句在电影中由打字机打出来的台词，在傅冯细腻精湛的笔法下，实现了形式上的反转，巧妙地堆积了多重历史时间线和个人故事。

TEFAF纽约春季艺博会，玛丽安 · 古德曼画廊展位现场，2019

傅丹的同伴兼偶尔的合作者海因茨 · 彼得 · 科涅斯，融合时尚摄影和古典雕塑形式，拍摄了一组傅丹的缪斯——他的侄子古斯塔夫的照片。这些充满神秘感的摄影作品，交织着相悖的叙述和艺术脉络，同时也体现了传统、遗产以及情色的相互作用。丹麦艺术家、傅丹从前的教授彼得 · 邦德（Peter Bonde）的大尺幅绘画是以抽象的挥洒画笔的方式在镜面上完成。作品闪亮的表面与画面特有的不稳定性形成对话——这一模糊性也是傅丹在自己的创作中所挖掘的。

傅丹通过邀请他人的作品及影响介入自己的创作，刻意转移他作为创作者的痕迹，彻底重新思考了自身作品以及更广义的艺术制造的前提。这些作品结合在一起，共同探讨了个人生平与历史的影响，跨越时间的隐喻性关联，以及傅丹的艺术创作中所倚仗的互文性和引用。

关于艺术家

傅丹 / ? Nick Ash

傅丹目前在柏林和墨西哥城生活和创作。艺术家数次在国际艺术机构举办个展，其中包括：香港M+博物馆，丹麦哥本哈根国家美术馆(SMK)，法国波尔多CAPC当代艺术博物馆，纽约古根海姆美术馆（以上个展均为2018年），马德里索菲亚王后艺术中心水晶宫（2015），墨西哥朱迈克斯美术馆（2014），巴黎市立现代艺术博物馆（2013），芝加哥艺术博物馆（2012）以及瑞士巴塞尔美术馆（2009）。艺术家2015年获得阿肯当代艺术奖（Arken Art Prize），2013年获纽约古根海姆基金会雨果 · 博斯奖（Hugo Boss Prize），并在2015年威尼斯双年展上代表丹麦参展。

相关阅读
现场 | 时代洪流中对形式与意义的追寻，野口勇与傅丹于香港M+博物馆的对位变奏
现场 | 傅丹在纽约古根海姆美术馆大型个展，对历史和个人现实的记录

TEFAF New York Spring

Park Avenue Armory

Stand 338

2019.05.03-05.07

Marian Goodman Gallery is delighted to announce our participation in TEFAF, from May 3rd to May 7th, 2019 where we will feature an installation by Danh Vō.

Danh Vō’s presentation will feature a suite of works that include a sculpture from the ongoing series Take My Breath Away; paintings by Danish artist Peter Bonde, Vō’s former professor; drawings by the artist’s father, Phung Vō; and a series of photographs by the German photographer Heinz Peter Knes. Juxtaposed, these disparate objects poetically entwine multiple cultural and creative narratives.

Making tangible the relational process of Vō’s practice, the objects, paintings, photographs, and works on paper presented here enfold works made by members of the artist’s inner circle. The collaborative nature of this presentation prefigures the conceptual and curatorial theme of Vō’s upcoming project for the Central Pavilion and Arsenale at the 58th Venice Biennale.

For TEFAF, Vō continues his practice of working with existing cultural artifacts, using them to link subjective, intimate narratives to wider-ranging historical and political events. A set of marble legs, both an autonomous sculpture and a detail of an ongoing sculptural series, grounds the installation. The sculpture evokes the temporal and geographical dislocation of contemporary objecthood while exploring the relationship between monumentality and ruin.

Continuing their filial collaboration, Vō has commissioned his father, Phung Vō, to transcribe the infamous line “All work and no plays makes Jack a dull boy” from Stanley Kubrick’s 1980 film The Shining in his characteristic calligraphic style and font. The line – typewritten in the film – is here rendered in Phung’s exquisite penmanship, a formal inversion that deftly layers multiple historical timelines and personal histories.

Merging fashion photography and classical sculptural form, his partner and sometime collaborator Heinz Peter Knes’ enigmatic photographs of Vō’s nephew and frequent muse Gustav interweave divergent narrative and aesthetic threads – as well as an interplay of legacy, inheritance, and erotics. Danish artist and Vo’s former professor Peter Bonde’s large-scale paintings are comprised of gestural, abstract marks applied on mirror foil surfaces. The shimmering surface of these works speak to the instability of images themselves – an ambiguity that Vō has mined in his own work.

In inviting the labor and influence of others to enter his practice, Vō deliberately displaces his own authorial agency, radically rethinking the terms of his own work, and of art-making more broadly. Brought together, these objects speak to the influence of biography and history, the metaphorical affinities across time, and to the themes of intertextuality and citation that underpin Vō’s practice.

ABOUT THE ARTIST

Danh Vō lives and works in Berlin and Mexico City. Vō’s work has been the subject of solo exhibitions at a range of international institutions, including M+ Museum, Hong Kong; Statens Museum for Kunst (SMK), Copenhagen, Denmark; CAPC-Musée d’art contemporain de Bordeaux, France; and the Solomon R. Guggenheim Museum, New York (all 2018); Palacio de Cristal, Reina Sofia, Madrid, Spain (2015); Museo Jumex, Mexico City, Mexico (2014); Musée d’art modern de la Ville de Paris, France (2013); The Art Institute of Chicago, Illinois (2012); and Kunsthalle Basel, Switzerland (2009). In 2015, he won the Arken Art Prize, and in 2013 the Hugo Boss Prize from the Guggenheim Foundation. He represented Denmark at the 2015 Venice Biennale.

正在展出 I CURRENT EXHIBITIONS

P A R I S

GIULIO PAOLINI

MARCH 15 – MAY 11, 2019

L O N D O N

ALLAN SEKULA

PHOTOGRAPHY, A WONDERFULLY INADEQUATE MEDIUM

MARCH 14 – MAY 18, 2019

即将展出 I UPCOMING EXHIBITIONS

N E W Y O R K

JOHN BALDESSARI

MAY 3 – JUNE 15, 2019