影像上海艺术博览会参展画廊 | 常青画廊

 画廊

常青画廊由三位好友——马里奥·克里斯蒂阿尼、洛伦佐·飞亚斯其和莫瑞希欧·瑞哥罗——于1990年在意大利成立。建筑前身为一座旧式影院的常青画廊，选址在保留着中古世纪风貌的小城圣吉米那诺，远离都市和城市中心。三位创始人希冀保持时代的延续性，渴望参与书写承前启后的当代创造的诗篇。

2004年，常青画廊在北京798艺术区正式设立了第二处空间，为最早在中国成立空间的国外画廊之一。从那之后，画廊一直扮演承担着尤其重要的文化桥梁作用，为中国的艺术爱好者提供欣赏国际艺术大师作品的机会，这些作品多由艺术家们特别为北京空间而创作。紧接着画廊在位于法国巴黎郊区 Boissy 的穆琳选址，并于2007年正式开放。这个前身为造纸厂，占地面积达30,000平方米的空间专注于“有野心”的宏大项目和大型作品的展览。位于圣玛丽亚的新穆琳画廊致力于视觉艺术（绘画、行为、装置、雕塑、多媒体和影象），展出从未展出过的私人和公共收藏。

出于日益增长的分享艺术及结识新观众的急切心情，2015年常青画廊在位于古巴哈瓦那中国城中心的一个建于50年代的电影院内开启了一处引人注目的新空间。古巴的项目更意在开启对于人文的探索旅程，力图和古巴本地创建联结，邀请来自全世界的艺术家汲取当地的养分，和当地观众产生互通，启发对这个国家的深入探索。常青通过对画廊版图的不断扩张壮大，希望为丰富多元的文化资源提供持久养分和对等的交流平台。而今，常青画廊已跻身全球20家最重要画廊之列。

本届影像上海艺术博览会常青画廊将展出多位艺术家的作品，分别为：卡斯滕·霍勒（Carsten Ho?ller），乔瓦尼·欧祖拉（Giovanni Ozzola），汉斯·欧普·德·贝克（Hans Op De Beeck），米开朗基罗·皮斯特莱托（Michelangelo Pistoletto），阚萱（Kan Xuan），庄辉（Zhuang Hui），以及杉本博司（Hiroshi Sugimoto）。

The gallery was created in Italy in 1990 by three friends: Mario Cristiani, Lorenzo Fiaschi and Maurizio Rigillo. Installed in an old movie theater, Galleria Continua was based away from big cities and modern urban centers, in a medieval town called San Gimignano. A strong desire inhabited the three founders to maintain a continuity between generations while composing a story responsive to contemporary creation.

In 2004, Galleria Continua has been one of the first foreign art galleries to reach to China, opening a new location in the now famous Beijing’s 798 Art District. Since then, the gallery has endorsed an important role of cultural mediator on that side of the world, offering to Chinese art-lovers a chance to enjoy exhibitions created specifically for this space by internationally acclaimed artists. Relentlessly expanding, another location was inaugurated in 2007. This time, the designated location was a beautiful French place called Les Moulins of Boissy in the Parisian countryside. This former paper mill was made to host ambitious projects made of large-scale works, as it covers an area of 30,000-m2. The neighboring Moulins of Sainte-Marie is dedicated to visual arts (painting, performance, installation, sculpture, multimedia and video), and shows exclusive private and public collections.

From an ever growing eager to share art and encounter new audiences, Galleria Continua introduced another remarkable space in 2015 in the heart of Havana’s Chinatown in another magnificent movie theatre from the 50s. Galleria Continua intends to make people travel by creating a bond with Cuba in order to invite artists from all around the world to “breathe”, interact with people and understand this beautiful country. By expanding its passion to challenging locations, it hopes to provide an everlasting source of enrichment and respectful multicultural communication. Nowadays Galleria Continua is among 20 most important galleries in the world.

Galleria Continua will feature artworks from Carsten Ho?ller, Giovanni Ozzola, Hans Op De Beeck, Michelangelo Pistoletto, Kan Xuan, Zhuang Hui, and Hiroshi Sugimoto at 2018 PHOTOFAIRS | Shanghai.

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卡斯滕·霍勒以其作为科学家的经验背景运用于艺术创作中，着意探讨人类关系的本质。他于1961年出生在布鲁塞尔，现工作生活于瑞典斯德哥尔摩及加纳比日瓦。

其重要装置作品包括：《试验场》，展出于泰特现代美术馆涡轮大厅中的一组巨型金属滑梯（2006）;《游乐园》，位于美国北亚当斯的马萨诸塞州当代艺术博物馆中一座缓慢运转的等比例游乐场设施（2006）;《飞行机》，以起重机将观众置于空中飞行（1996）；《颠倒潜望镜》，通过潜望镜颠覆视觉的实验装置；以及著名的《双重俱乐部》（2008-2009），该作品于伦敦以酒吧、餐厅与夜店不同形式呈现，制造出一场刚果文化与西方文明的对话，展出于2008年11月至2009年7月期间。其2008年创作的旋转艺术装置《旋转酒店》，夜间则成为一处具备整套设施功能的酒店房间，该作于2009年在古根海姆美术馆举办的展览“空间任你游”中展出；在于2015年海沃德画廊举办的展览“决定”中，艺术家则将整个建筑变为一场实验式的跑酷，配有两个入口与四个出口，其中两个出口为巨型滑道。

在过去二十多年艺术生涯中，霍勒的作品亮相于世界各地：其个展先后在米兰 Prada 基金会（2000）、波士顿当代艺术博物馆（2003）、马赛当代艺术博物馆（2004）、奥地利布雷根茨美术馆（2008）、鹿特丹博伊曼斯·范伯宁恩美术馆（2010）、 柏林汉堡车站现代美术馆（2011）、纽约新美术馆（2011）、维也纳提森-波涅米萨当代艺术博物馆（2014）、米兰倍耐力 Hangar Bicocca 当代艺术中心（2016）、挪威 Henie Onstad 艺术中心等地举行。最近个展“理由”于纽约高古轩画廊举办。

作品收藏机构主要包括：纽约现代艺术博物馆、伦敦泰特美术馆、比利时市立当代艺术博物馆、里昂现代艺术博物馆、法兰克福现代艺术博物馆、米兰 Prada 基金会; 巴塞罗那 Cal Cego – 当代艺术收藏、乌克兰平丘克艺术中心、日本21世纪当代艺术博物馆。

? CARSTEN HO?LLER, Fasano Mirage, 2011. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

Carsten Ho?ller uses his training as a scientist in his work as an artist, concentrating particularly on the nature of human relationships. Born in Brussels in 1961, he now lives and works in Stockholm, Sweden and Biriwa, Ghana.

His major installations include Test Site, a series of giant slides for Tate Modern’s Turbine Hall (2006), Amusement Park - an installation of full-size funfair rides turning and moving at very slow speed at MASS MoCA, North Adams, USA (2006), Flying Machine (1996), a work which hoists the viewer through the air, Upside-Down Goggles, an experiment with goggles which modify vision, and the famous The Double Club (2008-2009) in London, which opened in November 2008 and closed in July 2009, took the form of a bar, restaurant and nightclub designed to create a dialogue between Congolese and Western culture. His Revolving Hotel Room, 2008, a rotating art installation that becomes a fully operational hotel room at night, was shown as part of the any space whatever exhibition at the Guggenheim Museum in 2009. For his 2015 exhibition Decision at the Hayward Gallery, he turned the whole building into an experimental parkour with two entrances and four exits, two of them slides.

His works have been shown internationally over the last two decades, including solo exhibitions at Fondazione Prada, Milan (2000), the ICA Boston (2003), Muse?e d'Art Contemporain, Marseille (2004), Kunsthaus Bregenz, Austria (2008), Museum Boijmans Van Beuningen, Rotterdam (2010), Hamburger Bahnhof, Museum fu?r Gegenwart, Berlin (2011), New Museum, New York (2011) Thyssen-Bornemisza Art Contemporary (TBA21), Vienna (2014), Pirelli HangarBicocca, Milan (2016), Henie Onstad Kunstsenter, H?vikodden, Norway (2017), and Reason at Gagosian Gallery, New York City, United States.

Collections include Museum of Modern Art, New York; Tate, London; Stedelijk Museum voor Actuele Kunst, Belgium; Muse?e d’Art Contemporain Lyon, France; Museum fu?r Moderne Kunst, Frankfurt; Fondazione Prada, Milan; Cal Cego – Coleccio?n de Arte Contempora?neo, Barcelona; PinchukArtCentre, Ukraine; and 21st Century Museum of Contemporary Art, Japan.

乔瓦尼·欧祖拉于 1982年出生于意大利佛罗伦萨，现工作和生活于加那利群岛。欧祖拉是一名跨媒介艺术家，以摄影为主要领域，同时也进行影像及雕塑装置创作。欧祖拉的作品表现着光学现象的微妙情绪与物理表征，其主要研究方向为对“无限”和 “探索”进行概念化呈现——既是地理学层面的，也是自省的。

其艺术生涯始于2001年参加的群展“幸福：艺术和生活的生存指南”，该展于日本东京的森美术馆举行，由大卫·艾略特与皮耶尔·路易吉·塔吉策展；此后欧祖拉开始在全球范围内展出。2017年他的个展包括：在柏林“无题协会”进行的 “残骸与有星星的房间”；在意大利比萨 San Michele Degli Scalzi 教堂当代艺术中心中举办的“视觉系统/现实系统”；在南非开普敦第六区博物馆返乡中心与斯泰伦博斯 SMAC 画廊举办的“漫无目的”；及同在 SMAC 画廊举办的“伤痕”。

欧祖拉还曾参与2016年阿布扎比艺术节中由法布里斯·布斯托策展的“重生”，以及由戴维德·费里在意大利弗利马科里尼画廊所策展览“云的理论”。他参与的群展还包括“21，39”吉达艺术节展览“地球及其之后”，以及在常青画廊古巴空间举办的“你+我=我们”。其个展包括2011年由路德维科·普拉泰西在意大利佩萨罗 Pescheria 视觉艺术中心策展的“沉船”，常青画廊圣吉米那诺空间个展“路径与星辰”，2012年意大利巴里 Doppelganger 画廊个展“沉船供给仓：41° 7’ 31’’ N 16° 52’ 0’’ E——感伤情怀”，以及2013年常青画廊北京空间个展“彗星论”。

他参与的其他重要群展包括：2014 年常青画廊圣吉米那诺空间由里卡多·萨登伯格策 展的“另一种规模”；由 Manchan Kim 策展的国际巡展“陆地、海洋、天空：重回影像中的空间性”，该展于2014至2015年先后在韩国首尔 Artsonje Center 美术馆、中国 OCAT 上海馆、广东美术馆、澳大利亚布里斯班格里菲斯大学美术馆和 MAAP 空间展出。

2015年，欧祖拉在南非约翰内斯堡举办首次个展“风出生的地方”。该展在伦敦 Gazzeli Art House 率先展出。同年，他还参与意大利帕尔马皮高里尼宫的展览“更多的空间”，法国里尔 LILLE 3000艺术中心由法布里斯·布斯托策展的“你应该改变你 的生活”，以及由何塞-曼努埃尔·冈萨维斯在巴黎104艺术中心策划的常青画廊25周年特展“继续疯狂!” 。欧祖拉所获奖项包括“开罗奖”（2011），“特尔纳当代艺术奖”（2008）与“Seat Pagine Gialle”奖（2007）。近期，欧祖拉还在南非 SMAC 画廊十周年特展“X：第一部分”中亮相。

其他重要的收藏包括：切尔西艺术博物馆（美国，纽约）；沙迦马拉雅艺术中心（迪拜）；森美术馆（日本，东京）；Schunck-Glaspaleis（荷兰，海尔伦）；托恩与塔克西斯宫美术馆（奥地利，布雷根茨）；帕佩塞宫（意大利，锡耶纳）；星美术馆（中国上海）；OCAT 上海馆（中国，上海）；广东美术馆（中国广州）；谭国斌当代艺术博物馆（中国，长沙）；MAN 艺术博物馆（意大利，努奥罗）；早稻田大学（日本，东京）；巴士底狱艺术中心（法国，格勒诺布尔）；Comunale 当代艺术画廊（意大利，蒙法尔科内）；Viafarini Docva（意大利，米兰）；Pescheria 视觉艺术中心（意大利，佩萨罗）；特兰托与罗弗莱托的现当代艺术博物馆（MART），（意大利）。

? GIOVANNI OZZOLA, Sunset | Sand | Red mood, 2015. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

Born in 1982 in Florence (Italy) Giovanni Ozzola lives and works in Canary Islands. He is a multidisciplinary artist working primarily in photography, as well as video and sculptural installation. Ozzola’s practice demonstrates a deep sensitivity towards the phenomenon of light and its various physical characteristics. His main thematic interests lie in conceptualizing and representing infinitude and exploration, both geographical and introspective.

Starting his career in 2001 as part of the group show; Happiness: A Survival Guide for Art and Life, curated by David Elliott and Pier Luigi Tazzi, at the Mori Art Museum of Tokyo in Japan; Ozzola has since exhibited world-wide. His 2017 solo exhibitions include; Wrecks and Rooms with Stars at Untitled Association in Berlin, Germany; Sistemi di Visione/Sistemi de Realta? at the Centro Espositivo per le Arti Contemporanee, San Michele Degli Scalzi (SMS) in Pisa, Italy; adrift at the District Six Museum Homecoming Centre in Cape Town and SMAC Gallery in Stellenbosch, South Africa; as well as Scars at SMAC Gallery in Cape Town, South Africa.

Ozzola formed part of (RE) BIRTH, curated by Fabrice Bousteau for Abu Dhabi Art 2016, UAE, and Teoria della nuvola/ Theory of Cloud, curated by Davide Ferri at Galleria Marcolini in Forli, Italy. Group exhibitions include; Earth and Ever After, an exhibition for the 21,39 Jeddah Art event in Jeddah, Saudi Arabia and ‘YOU + ME = US’ at Galleria Continua in Havana, Cuba. Previous solo exhibitions include Naufragio, curated by Ludovico Pratesi at the Centro Arti Visive Pescheria in Pesaro, Italy in 2011; Routes and Stars at Galleria Continua in San Gimignano, Italy and Castaway Depot: 41° 7’ 31’’ N 16° 52’ 0’’ E – In a Sentimental Mood at Doppelganger in Bari, Italy in 2012 and La The?orie des Come?tesat at Galleria Continua in Beijing, China in 2013.

Notable group exhibitions include; On Another Scale, curated by Ricardo Sardenberg at Galleria Continua in San Gimignano, Italy in 2014 and the international touring exhibition LANDSEASKY: Revisiting Spatiality in Video, curated by Kim Manchan and presented at Artsonje Center in Seoul, South Korea; OCT Contemporary Art Terminal in Shanghai, China; Guangdong Museum of Art in Guangzhou, China; Grifth University Art Gallery and MAAP SPACE in Brisbane, Australia during 2014 – 2015.

In 2015, Ozzola made his South African debut with Dove Nasce Il Vento in Johannesburg. This exhibition was rst shown at Gazelli Art House in London, UK. That year, he also exhibited in More Spaces at the Palazzo Pigorini in Palma, Italy; Tu Dois Changer Ta Vie, curated by Fabrice Bousteau at LILLE 3000 in Lille, France, and formed part of Follia Continua!, under direction of Jose?- Manuel Gonc?alve?s, at Le Cenquatre– Paris, in Paris, France. Among Ozzola’s awards are the Premio Cairo (2011), Premio Terna (2008) and Seat Pagine Gialle (2007). Most recently, Ozzola featured in X: PART I, a group exhibition celebrating SMAC Gallery’s 10 year anniversary.

Major Collections including: Chelsea Art Museum (New York); Sharjah Maraya Art Center (Dubai); Mori Art Museum (Tokyo, Japan); Schunck-Glaspaleis (Heerlen, Netherlands); Künstlerhaus Palais Thurn und Taxis (Bregenz, Austria); Palazzo Delle Papesse (Siena, Italy); START Museum (Shanghai, China); Ocat – Contemporary Art Terminal (Shanghai, China); Guangdong Muesum of Art (Guangzhou, China); Man Museo d’Arte (Nuoro, Itay); Tan Guobin Contemporary Art Museum (Changsha, China); Waseda University (Tokyo, Japan); Centre d’Art Bastille (Grenoble, France); Galleria Comunale d’Arte Contemporanea di Monfalcone (Italy); Viafarini Docva( Milano, Italy); Centro Arti Visive Pescheria (Pesaro, Italy); Museum of Modern and Contemporary Art of Trento and Rovereto (MART), (Italy). 

比利时视觉艺术家汉斯·欧普·德·贝克（生于1969年）的作品多种多样，包括巨形雕塑装置、影像、动画影片、雕塑、绘画、摄影、短篇小说、和舞台设计等。 他的理念来源于后现代时期里，人们的超脱和自我的迷失，这些在他的大部分作品里都有所体现。

艺术家构想和建立了一些虚拟的当代都市场景，偶尔也加入几个让观众感到亲切的人物。布景既包括适合内省的安静区域，也包括偶尔显得笨拙的人群。他的作品反映了我们日常的生活、梦想、志向，以及我们的感知，包括对时间、 空间、和两者之间的依存关系。汉斯·欧普·德·贝克的视觉语言是肃静而缄默的 ，时而严肃，时而讽刺，留下没有答案的疑问。

? HANS OP DE BEECK, Staged Exterior (forest), 2014. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

The multi-disciplinary oeuvre of the Belgian visual artist Hans Op de Beeck (b. 1969) consists of large-scale sculptural installations, videos, animated films, sculptures, drawings, photographs, short stories and stage designs. Much of his work is based upon the ideas of detachment and loss of self for human beings in the post-modern times.

The artist conceives and builds contemporary fictional urban and domestic locations and situations, sometimes featuring human characters that feel very familiar to viewers. His settings include both secluded spots suitable for inner reflection and crowded areas populated by characters who, at times, appear to be inept. His work sheds light on our own present-day lives, dreams and ambitions, and our perceptions of time, space and their co-dependence. Hans Op de Beeck’s visual language is hushed and reserved. Serious and ironic by turns, he asks questions that remain unanswered.

米开朗基罗·皮斯特莱托（Michelangelo Pistoletto），1933年生于意大利比耶拉 。自1955年开始其作品陆续展出，后于1960年在意大利都灵的加拉泰亚画廊举办首场个展，早期实践致力于自画像的探索。1961年至1962年间，他创作了最早的一组“镜画”作品，将观者本身与实时现场纳入其中，带回被20世纪前卫艺术所摒弃 的文艺复兴透视法，并将其逆转。此作品很快令这位艺术家蜚声国际，并于60年代在欧美重要画廊与博物馆举办诸多个展。“镜画”系列也成为其艺术创作于理论思想的基石。1965年至1966年间，他创作了一组名为《迷你物品》的作品，被视为“ 贫穷艺术”运动的奠基之作，皮斯特莱托也成为这一运动的核心力量与领军人物。 1967年起，他的工作开始跳出传统展览空间，在此后的数十年间，他不断将来自不同领域与社会各界的艺术家聚合到一起进行“创造性合作”。

1975年至1976年，其作品《空间》分为12个连续的展览，在都灵的斯坦画廊进行——这是其一系列为时一年，以“时间大陆”为名之作品的首部曲。该系列还包括《白色之年》（1989年）和《快乐的海龟》（1992年）。1978年，在都灵的一场展览确定了皮斯特莱托 未来创作的两个方向：《镜中的乘除法》与《艺术承载信仰》。八十年代初期，他完成了一系列硬聚氨酯雕塑创作，并在1984年于佛罗伦萨美景堡所举办的个展中以大理石呈现。1985年至 1989年间，皮斯特莱托创作了一系列“黑暗”作品，名为《肮脏的艺术》。九十年代，通过“公共艺术计划”，以及创建于比耶拉的艺术城市 - 皮斯特莱托基金会和理念大学，他将艺术与社会各领域积极地联系起来，旨在激起与制造“有责任的社会变化”。

2003年，他获得威尼斯双年展金狮奖终生成就奖。 2004年，都灵大学授予皮斯特莱托政治学荣誉博士学位。值此时机，他也宣布了自己最新创作阶段，“第三天堂”。2007年，由于“作为一名艺术家、教育家和社会活动家，他将源源不断的创造力贡献给艺术，创造出给世界带来全新理解方式的、划时代的艺术形式”，皮斯特莱托在耶路撒冷获颁沃尔夫艺术奖。2010年，其文章《 第三天堂》以意大利语、英语、法语和德语四种语言出版。2011年，他出任波尔多 Evento 2011双年展“艺术与城市再演进”的艺术总监一职。2012年，他开始致力宣传“重生日”，这一首个庆祝重生的日子定为每年的12月21日，迎来世界各地的特别活动。2013年，巴黎卢浮宫举办其个展“米开朗基罗·皮斯特莱托：一年——世间天堂”。同年，他在东京获颁“高松宫殿下纪念世界文化奖”的绘画奖。 2014年，在意大利当任欧盟轮值主席国期间，其“第三天堂”的标志符号进入了布鲁塞尔欧盟总部的大厅。2015年5月，他被授予古巴哈瓦那艺术大学的荣誉博士。 同年他完成大型装置《重生》，立于联合国驻日内瓦总部万国宫。2016年，位于哈瓦那的古巴国家美术馆举办皮斯特莱托大型回顾展，展出从60年代的绘画，到最新的《第三天堂》，再到完成于2015年的古巴“镜画”，横跨其创作生涯的多个维度 。2017年，其个展“米开朗基罗·皮斯特莱托：壹加壹等于三”作为威尼斯双年展平行项目展，在圣乔治马焦雷教堂亮相。

首次对公众展出的全新“镜画”作品，精美且特具自传意味。艺术家以丝网印刷技术将自己的肖像融于镜面抛光的不锈钢表面，通过“在当下”的第四维度参与，邀请观众成为场景的一部分。皮斯特莱托将自己的形象置于前景，手举作为“生成性破坏”符号的木槌——这?符号取自其2008年横滨三年展及2009年在威尼斯双年展中实施的著名行为表演（前者现被纽约现代艺术博物馆收藏）。

? MICHELANGELO PISTOLETTO, Rottura dello specchio – azione 3, 2017. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

Michelangelo Pistoletto was born in Biella in 1933. He began to exhibit his work in 1955 and had his first solo show in 1960 with Galleria Galatea in Turin. His early work is characterized by an inquiry into self-portraiture. In the two year period from 1961-1962, the first Mirror Paintings were made, which incorporate the viewer and real time into the work directly, opening up perspective, and reversing Renaissance perspective that had been closed off by the twentieth century avant-garde. These works quickly brought Pistoletto international acclaim, leading to individual shows in important galleries and museums in Europe and the United States in the sixties. The Mirror Paintings provided the foundation of his subsequent artistic output and theoretical exploration. In 1965 and 1966, he produced a set of works entitled Minus Objects, considered fundamental to the birth of Arte Povera, an art movement for which Pistoletto was an animating force and key protagonist. In 1967, he began working outside traditional exhibition spaces, with the first instances of the “creative collaboration” he developed over the following decades by bringing together artists from different disciplines and diverse sectors of society. 

From 1975-1976, he presented a cycle of twelve consecutive exhibitions, “Le Stanze”, at the Stein Gallery in Turin. This was the first of a series of complex, year-long works known as “time continents”, others include White Year (1989) and Happy Turtle (1992). In 1978, in a show in Turin, Pistoletto defined two main directions for his future artistic production: “Division and Multiplication of the Mirror” and “Art Takes On Religion”. In the early eighties, he made a series of sculptures in rigid polyurethane translated into marble for his solo show in 1984 at Forte di Belvedere in Florence. From 1985 to 1989, he created the series of “dark” volumes called Art of Squalor. During the nineties, with Project Art and his creations in Biella of Cittadellarte Fondazione Pistoletto and the University of Ideas, he brought art into active relation with diverse spheres of society with the aim of inspiring and producing responsible social change. 

In 2003, he won the Venice Biennale’s Golden Lion for Lifelong Achievement. In 2004, the University of Turin awarded him an honorary degree in Political Science. On that occasion, the artist announced the most recent phase of his work, Third Paradise. In 2007, in Jerusalem, he received the Wolf Foundation Prize in the Arts, “for his constantly inventive career as an artist, educator and activist whose restless intelligence has created prescient forms of art that contribute to fresh understanding of the world.” In 2010, he wrote the essay “The Third Paradise”, published in Italian, English, French and German. In 2011, he was the artistic director of “Evento 2011 – L'art pour une re?-e?volution urbaine” in Bordeaux. In 2012, he started promoting the Rebirth-day, the first worldwide day of rebirth, celebrated every year on December 21st with initiatives taking place all over the world. In 2013, the Louvre in Paris hosted his personal exhibition “Michelangelo Pistoletto, anne?e un – le paradis sur terre”. The same year, he received the Praemium Imperiale for painting, in Tokyo. In 2014, the symbol of the Third Paradise was installed in the hall of the headquarters of the Council of the European Union in Bruxelles for the duration of the Italian Presidency of the European Council. In May 2015, he received an honorary degree from the Universidad de las Artes of Havana in Cuba. In the same year, he realized a work of epic scale entitled Rebirth, situated in the park of the Palais des Nations in Geneva, headquarters of the UN. In 2016, he exhibited his works in Havana, Cuba, at the Museo Nacional de Bellas Artes, with a great retrospective exhibition which encompassed his entire artistic journey, from the paintings of the 1960s to the latest works on the Third Paradise and the Cuban Mirror Paintings, executed the previous year. In 2017, the artist participated in an auxiliary event of the 57th Venice Biennial with the exhibition “One and One Makes Three” at the San Giorgio Maggiore Abbey complex in Venice.

New examples of mirror paintings with a specific autobiographical note, on public display for the first time. The artist has used the silkscreen technique to incorporate an image of himself into the mirror‐polished stainless steel surface, inviting the viewer to become part of the scene by creating a fourth dimension of participation in the present. Pistoletto places his own figure to the fore, holding a wooden mallet, a symbol of generative destruction taken from his famous performances, such as the one he did for the Yokohama triennale in 2008 (now part of the MOMA collection in New York) and then the following year at the Venice Biennale.

阚萱生于1972年。幽默，轻松又优雅，并伴随着深刻的讽刺及批评，这就是阚萱艺术的特点。在她随时随地发现故事，寻找自己是阚萱的实践核心，她自1999年以来一直主要从事实验性录像艺术创作。她的作品强调那些我们日常生活都会碰到，但却几乎不会注意的细微的事物、感受及情感。她的作品坚持其想象的适当及精确，并以直接单纯的方式表现。 在她的视频片段中，被动的观察往往体现为主动活跃的表现。

? KAN XUAN, Tablet is White, 2003-2006. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

Kan Xuan was born in 1972. Humor, lightness, and grace characterize the works of Kan Xuan, running alongside a deep sense of critical irony and a very personal perspective. The research of herself in the stories she finds everywhere and at any time is at the core of Kan Xuan’s practice who mainly works with experimental videos since 1999. Her videos highlight the trivial details, feelings, and sensations that we experience in daily life, but often leave unnoticed. She reproduces and records them as directly as possible, showing a striking imagination, relevance, and clarity of vision. In her video pieces, she indulges in a honing of the techniques of the observer, but transforms the passive role of observation into an active performance.

庄辉于1963年生于甘肃省玉门县。他在十三岁时离开家乡并开始在洛阳自学绘画。 1979年高中毕业后，他进入洛阳第一国营拖拉机械厂成为了一名工人。在那期间， 他通过游历走访四方，亲身经历了第一手有关正在处于转型阶段的中国社会中的多种 面状。1992年，庄辉组织完成了第一次也是重大的公共艺术活动《为人民服务》。 1995年，庄辉在他所在的地区开始了一系列针对中国社会阶层结构根源的探究，最初是作品《一个和三十个》以及最有名的那组容纳了近百人自画像的系列照片，包括了军营部队、农庄，亦或医院等全部工作部门。庄辉也不断延伸拓展着他对于中国社 会转型的检验，并转向有关社会政治问题的更大层面，譬如作品《东经109.88，北 纬31.09》，还有他关于纪录自身随性而非常规生活的摄影作品《十年》。2000年后，庄辉继续创作一系列雕塑、装置，例如作品《茶山镇》与《带钢车间》，来影射中国经济发展的不良面。2006年，庄辉开始同旦儿合作，一起发起了包括“玉门计划”在内数个艺术项目；作品玉门是他们在家乡当地开设了一个照相馆，由此创作了在一个衰退城市中居民的社会肖像。庄辉开始定期走访祁连山脉，并于2014年基于他与当地景观所发生的关联开始创作新作，将其发展成为一个长期项目。

在他繁碌、丰富的艺术生涯中，庄辉参与了多数重要展览，其中包括：2017年， “祁连山系”，常青画廊（北京）；连州国际摄影年展，连州摄影博物馆；2015 年，西安美术馆；2014年，常青画廊（北京）；2014年，德国弗柯望博物馆（波恩）；2012年上海双年展，上海当代艺术博物馆；2011年，北京今日美术馆；2010年雅加达余德耀美术馆；2009年，盐湖艺术中心（美国，犹他州）；2008年，格罗宁根博物馆（荷兰）；2007年，利物浦，泰特美术馆；2007年，常青画廊（穆林，法国）；2006年，常青画廊（圣吉米那诺，意大利）；2005年，德国柏林，世界文化宫；2005年，伯尔尼美术馆（瑞士）；2004年，法国里昂科特迪瓦当代艺术博物馆；2003年蓬皮杜艺术中心；2002年 Deichtorhallen（德国，汉堡）；2001年，巴塞尔 Beyeler 艺术博物馆；1999年，根特艺术中心（比利时）。 他也于1999年参加了第48届威尼斯双年展。

? ZHUANG HUI, Qilian Range–07, 2014. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

Zhuang Hui was born in 1963 in Yumen Town, Gansu Province, China. He left his hometown to study in Luoyang City at the age of thirteen and started to study painting by himself. In 1979, after graduating from high school, he became a worker at the state-run Luoyang No.1 Tractor Factory. During that period, he travelled extensively to experience first hand the many facets of Chinese society in transformation. In 1992 Zhuang Hui created his first major public art project Serve the People. In 1995, he started a series of works examining the roots of Chinese socialist class structure and his place within it, first with Thirty and One and also his most celebrated series of photographs - self-portraits with entire work units such army battalions, villages, or hospitals, comprising up to hundreds of people. With projects such as Longitude 109.88 E and Latitude 31.09 N, Zhuang expanded his examination of the transformation of Chinese society to larger socio-political issues, and with the photography project Ten Years he documented his own peripatetic and unconventional life. After 2000, Zhuang continued his portrayal of the troubled side of China’s economic development with a series of sculptural installations such as Chashan County and Factory Floor. In 2006, Zhuang Hui started working with Dan’Er, with whom he developed a number of projects including the Yumen Project for which they opened a photography studio in his hometown, creating a social portrait of the inhabitants of a city in decline. Zhuang started regularly visiting the Qilian Mountain range, and in 2014 started making work arising from the relationship he has formed with the landscape there, which has since developed into a long term project.

During his engaged and fruitful artistic career Zhuang Hui participated in a number of exhibitions including“Qilian Range”, Galleria Continua (Beijing); Lian Zhou Museum of Photography (2017); Xi’an Art Museum (2015); Galleria Continua, Beijing (2014); Folkwang Museum, Bonn (2014); 9th Shanghai Biennale, Power Station of Art, Shanghai (2012); Today Art Museum, Beijing (2011); YUZ Museum, Jakarta (2010); Salt Lake Art Center (2009); The Groninger Museum, Groningen (2008); Tate Modern, Liverpool (2007); Galleria Continua, Les Moulins (2007); Galleria Continua, San Gimignano (2006); Haus der Kulturen der Welt, Berlin (2005); Kunstmuseum Bern (2005); Muse?e d'art contemporain de Lyon (2004); Centre Pompidou, Paris (2003); Deichtorhallen Hamburg, Hamburg (2002); Beyeler Art Museum, Basel (2001); Ghent Art Center (1999). He also participated in the 48th International Art Exhibition Venice Biennale (1999).

 『焦点』 Spotlight 

杉本博司于1948年生于东京，1970年赴美学习摄影。作为一名跨学科艺术家，杉本的创作包括摄影、雕塑、装置，以及建筑等多个领域。通过探索与时间、经验主义及形而上学相关的一系列问题，其作品讲述历史与临时存在之物。杉本的艺术创作跨越东西方的二元意识形态，检视时间的本质、感知以及意识的本源。代表作包括《透视画 馆》《剧院》《海景》《建筑》《摄影肖像》《观念之形》《放电场》等系列作品。

杉本曾获多项奖金与研究基金，作品被泰特美术馆、芝加哥当代艺术博物馆及纽约大都会艺术博物馆等重要机构收藏，并于2001年获颁哈苏国际摄影奖。他为柏林古根海姆美术馆创作的《摄影肖像》系列，先后于2000年和2001年3月巡展至毕尔巴鄂古根海姆美术馆和纽约古根海姆美术馆。2006 年，他在位于华盛顿的赫什霍恩博物馆 ，以及东京森美术馆举办艺术生涯中期回顾展，同时出版艺术家同名自传《杉本博司 》。2006年，杉本博司获西班牙摄影节 Photo Espan?a 大奖，2009 年获日本艺术协 会授予高松宫殿下纪念世界文化奖绘画奖，2013年获颁法国艺术与文学勋章。他也曾获英国皇家摄影协会授予的百年纪念奖章。

? HIROSHI SUGIMOTO, Yellow Sea, Cheju, 1992. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

Born in Tokyo in 1948, Hiroshi Sugimoto moved to the United States in 1970 to study photography. A multi-disciplinary artist, Sugimoto works in photography, sculpture, installation, and architecture. His work deals with history and temporal existence by investigating through a variety of subject matter issues surrounding time, empiricism, and metaphysics. His art bridges Eastern and Western ideologies while examining the nature of time, perception, and the origins of consciousness. His series include Dioramas, Theaters, Seascapes, Architectures, Portraits, Conceptual Forms, and Lightning Fields, among others.

Sugimoto has received a number of grants and fellowships, and his work is held in the collections of the Tate Gallery, the Museum of Contemporary Art, Chicago, and the Metropolitan Museum of New York, among many others. He received the Hasselblad Foundation International Award in Photography in 2001. Portraits, initially created for the Deutsche Guggenheim Berlin, traveled to the Guggenheim Bilbao in 2000 and the Solomon R. Guggenheim New York in March 2001. In 2006, a mid career retrospective was organized by the Hirshhorn Museum in Washington, D.C. and the Mori Art Museum in Tokyo. A monograph entitled Hiroshi Sugimoto was produced in conjunction with the exhibition. He received the Photo Espan?a prize in 2006, in 2009 was the recipient of the Premium Imperiale, Painting Award from the Japan Arts Association, and in the Officier dans l’Ordre des Arts et des Lettres (The Order of Arts and Letters) by French Government in 2013. He obtained also the Centenary Medal from the Royal Photographic Society of London.

? HIROSHI SUGIMOTO, Teatro dei Rozzi, Siena, 2014. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

 『洞见』 Insights 

阚萱的作品《物体》（Object）以一连串镜头展现了牛奶和咖啡、一只苹果、糖块和硬币的坠落。所有物件都落入水中，一个画外音低声说出物体的颜色，它们或在水中溶解，或浮出水面。然而，影片的黑白画质使色彩只能停留在从白色向黑色过渡的灰色（按艺术家的话说就是番茄的颜色）中。透过这种方式，作品迫使我们对被操控的视觉所见产生警惕。这个物体究竟是什么颜色？镜头是不是变成了我们的眼睛？我们任由自己透过这层滤镜进入到作品那消除了任何疑虑的美之中。

? KAN XUAN, Still from Object 001. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

Object is the title of a video by Kan Xuan. A succession of shots shows drops of milk and coffee, an apple, sugar cubes, and a coin. All these objects fall into water. A voiceover whispers the colour of the object, which either dissolves or returns to the surface. But submerged in a black and white film, the colours can only vary from white to black, through grey (the colour of tomatoes, according to the artist). In this way, the piece puts us on our guard against our definitively altered vision of things. What is the true colour of an object? Has our eye become that of the camera? We let ourselves sink through this filter into an work of disarming beauty. 

? KAN XUAN, Still from Object 004. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

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影像上海艺术博览会

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