妮基 · 圣法尔 个展
策展人 Curator：王贝莉 Beili Wang
开幕酒会 Opening: 7.12, 6 - 8 pm
展期 Duration: 7.12 - 8.17, 2019
10/F, HQueen's, 80 Queen's Road Central, Central, Hong Kong
妮基和她的射击绘画 | Niki and her Shooting Paintings, 1970
《三女神喷泉》 | Trois Graces Fontaine | White: 290 x 120 x 90 cm, Yellow: 290 x 125 x 95 cm, Black: 260 x 150 x 90 cm, 1999
《斯特拉文斯基喷泉》 | Stravinsky Fountain, 1983
《塔罗特花园》 | Tarot Garden, 1978-1998
《卡莉菲亚皇后的魔法圆形花园》 | Queen Califia's Magical Circle, 1999-2003
宛如凤凰涅槃一般，妮基·圣法尔总能从生活中的琐碎尘烬中坚毅。她饱受着长期的精神和身体问题的折磨，不过有幸她最终找到艺术来疗愈及度过无尽黑暗。正如她在人生旅途末期时作品中所写下的那样，"La mort n' existe pas / Life is eternal"（生如永恒，死不复存）。妮基藉由她的艺术而活着，继而成为后现代女性的自由意志，爱情和对美好希冀的象征。
《世界》，德国施瓦本哈尔 | The World, Schw?bisch Hall, 2011
妮基·圣法尔（1930 – 2002）是法国新写实主义艺术家，她的创作涵盖了绘画、雕塑、建筑及电影等范围。妮基1930年生于巴黎，后全家搬迁到美国纽约定居，16岁时担任《Life》、《Vogue》等知名杂志的专业模特儿，23岁的时候因为精神崩溃，在治疗过程里开始作画，从此便放弃表演转而踏入艺术创作领域。
妮基和她创作的娜娜们 | Niki de Saint Phalle among her Nanas, Paris, 1965
“她-一个教堂”展览现场，瑞典现代美术馆 | Exhibition view, She - A Cathedral, Moderna Museet, 1966
妮基·圣法尔的作品被25个国家过百间重要博物馆收藏及展出，包括：美国大都会艺术博物馆(The Met)、美国现代艺术博物馆(MoMA)、美国惠特尼美国艺术博物馆(Whitney Museum of American Art)、英国泰特美术馆(TATE)、 法国蓬皮杜艺术中心(The Centre Pompidou)、日本大坂国立国际美术馆(The National Museum of Art, Osaka)、韩国国立现代美术馆(The National Museum of Modern and Contemporary Art, Korea) 等。
Tang Contemporary Art is pleased to present Niki de Saint Phalle Solo Exhibition, an exhibition in collaboration with Niki Charitable Art Foundation and Galerie Mitterand, celebrating the discovery of this legendary French-American female artist in Asia.
《新娘》，拋光青铜，钯金，镀银改件 | The Bride, polished bronze, palladium, silver plated parts | 200 x 200 x 82 cm, 1965-1992
Born in France and raised in the USA, Niki de Saint Phalle (1930-2002) was one of the most legendary women artists of the 20th century. She appeared on the art world scene in the early 60s as the only female member of the Nouveaux Realistes in Paris. She had no formal art education but learnt from her family and travels, she was also deeply influenced by numerous artists from the Middle Ages to Matisse and Pollock. In her mid-twenties, she suffered a major nervous breakdown and was hospitalised. Niki began creating art as therapy and voice to express her anger and hope in a primitive and experimental style using symbols like animals, monsters and female figures. Saint Phalle created a series of works in the early 1960s that were featured in her first exhibition Tirs (Shooting Paintings). She suspended bags of paint in front of the white-painted assemblage and shot the assemblage with a pistol or rifle, causing the bags filled with paint to "bleed".
《时代长凳》， 冷凝树脂 | Le Banc des Generations, Polyester resin | 144 x 170 x 181 cm, 1988
In 1963, she created a series of sculptures protesting stereotypical societal roles for women as brides, birth-givers and prostitutes. Over time, her Nanas became more joyful, whimsical and colourful: she decided to glorify and liberate women. Saint Phalle used to be a fashion model in her teens and was very skinny herself but wanted to celebrate the female curves as well as women of all shapes and forms. These sculptures broke free from the social constraints imposed on women and advocated for universal empowerment for all women.
《白树》木板上白色黏土陶 | White Tree, Assemblage on wood | 244.5 x 122 x 22 cm, 1972
In the 1970s, Saint Phalle began ambitiously working on large scale architectural public art projects. At this point of her life she wanted to create works that would bring joy, humour and colour to people's lives. To name a few examples: in 1972 Saint Phalle was commissioned to build a giant sculpture in Jerusalem and created a monumental dragon with 3 tongues, depicting 3 religions, for children to play together. In 1983, after receiving the invitation from French president Fran?ois Mitterrand, Saint Phalle and Jean Tinguely created the Stravinsky Fountain in Paris. From the late 70s, Niki initiated the famous Tarot Garden (1978-1998) in Tuscany, Italy, with her artist and architect friends. This ambitious project with buildings and monumental sculptures based on Tarot cards became a lifetime signature project of Niki until she passed way in 2002.
《沐浴的娜娜》，雕塑部分树脂材料上彩绘，底座部分（让·丁格利作品）铸铁 | Bathing Beauty, Sculpture in painted resin by Niki de Saint, Phalle and joined iron by Jean Tinguely | 165 x 165 x 89 cm, 1967-1968
She also produced design objects that went against the aesthetic of functionalism and challenged the usual narrative of Modernist design. In 1980, Saint Phalle began creating a series of polyester snake chairs, vases and lamps. In the early 1990s, she returned to the United States due to health reasons where she lived until her death in 2002. During her decade in the United States, Saint Phalle built a new sculpture garden: Queen Califia's Magical Circle (1999-2003) which is her last public artwork.
《昨夜之梦》，聚酯漆，共17件，尺寸可变 | Last Night I Had a Dream, Polyester relief | 17 pieces, dimension variable, 1968 - 1988
Like a phoenix, Niki de Saint Phalle always rose from her ashes. She struggled with mental and physical health but found a way to heal through her art. As she declared in a drawing near the end of her life, "La mort n'existe pas/Life is eternal" ("Death doesn't exist/Life is eternal" ). Niki lived through her art and became a symbol of women's free will, love and hope.
《蓝色的女人》，铜、聚氨酯油漆 | Femme Bleue, Bronze, polyurethane paint, 210 x 125 x 5 cm, 1984 - 1997
ABOUT THE ARTIST
Niki de Saint Phalle (1930-2002) born in France but raised in the USA, was one of the most legendary women artists of the 20th century. She appeared on the art world scene in the early 60's as the only female member of the Nouveaux Realistes in Paris. She caused an uproar and rose to fame "shooting" her paintings with a rifle. She then moved on to focus on a series of the various "roles" of women such as brides, births, prostitutes, Nanas and "Devouring Mothers" . This was an obvious critic of the status of women in society, as well as their place in it. In the 70's, Saint Phalle began to created large colorful public art, her most important being the TAROT GARDEN in Italy to which she devoted 20 years of her life. In the early 90's she returned to the U.S., after the death of her husband and longtime collaborator, kinetic artist Jean Tinguely. There she continued creating art until her death, documenting her life and cultural clashes that her return to the U.S had brought her.