Vanguard画廊将于9月12日举办津巴布韦艺术家Gresham Tapiwa Nyaude在中国的首次个展“花从心中开出来“，由于疫情的原因，艺术家无法到场，于是我们连线津巴布韦，和Gresham在他位于首都哈拉雷的工作室聊了聊他的创作和近况。
Vanguard Gallery is pleased to present Zimbabwean Artist Gresham Tapiwa Nyaude’s first solo exhibition: "True Optimism" on 12th September, 2020. Due to the pandemic, our artist Gresham Tapiwa Nyaude can not be present, thus, we connected with Gresham at his Harare based studio to talk about his creation and life recently.
A : Gresham Tapiwa NyaudeHello everyone ,welcome to my studio.A: 我从2008年开始做画家，大概12年了。我大概是三到四年前创作艺术，但是当时我不知道自己是在专业地创作艺术，因为那时我没有上学，但是我在2008年才开始正式学习艺术，艺术创作，并将绘画作为职业。Q: How long have you been painting ?A: So I’ve been a painter since 2008, so that’s like 12 years and i started making art while before, that i think it was three to four years ago but i didn't know that i was making art professionally, because i didn't attend school by the day, but i attended school in 2008 that's when i started making arts fully and taking painting as a profession.Q: 你选择绘画作为你的创作模式，你是怎么考虑的?它是怎么与你的文化衔接的?A: 我是一个画家。虽然油画并不是一个很明显的媒介，但是在津巴布韦，绘画有着很强烈的20 世纪传统，比如艺术家Kigsley Sambo在moma 五十年代就有绘画展览，还有Luis Meque。与媒介相比，所有的艺术家更加通过内容与他们的文化相连接。shona的口头传统由视觉比喻构 成，使环境在想象中栩栩如生，绘画让我可以回应我的语言和我复杂、繁复层次的文化环境。我的绘画是我的语言。但这只是我，对于其他艺术家来说，可能不一样。Q:What’s your idea/consideration of your choice of medium? And how does it connect to your culture?A: I am a painter. Although oil painting is not an indigenous medium, painting has a strong 20th century tradition in Zimbabwe, with major artists like Kigsley Sambo exhibiting in the MoMA in the 1950s and artists like Luis Meque. All artists connect with their culture through the content much more than through their medium. Shona oral tradition involves visual metaphor, making environment come alive in imagination, Painting enables me to respond to my language and my cultural environment which is really complex and layered in a much more comprehensive way. Saying that, my painting becomes my language. But this is just me. This might be different for other artists.
太阳依旧升起, 布面油画，170 x 130 cm ,2020
And the Sun Also Rises Part 1, oil on canvas, 170 x 130 cm, 2020
Q: 你说过“我的作品需要观者对shona的文化有所了解。”你在纽约、伦敦都有过展览，你对于 你自己和你的作品在国际化的语境中如何看待?当代艺术本身就是国际化的，我的作品和作品的元素在不同的文化背景中可以由不同的解读， 我很乐意人们在我的作品中找到他们自己的想法。对我来说，我的体验在我的工作室中多于画 廊中。我的作品往往激发一些问题和讨论，正是通过这些讨论，我可以为了我的作品去谈论我 自己的文化语境。但是通过一些旅行，我发现我作品中的想法在不同语境中是共通的。当我谈论在津巴布韦人们的关系，虚伪和政治的游戏，在他们的环境中也存在并与我产生共鸣。Q: You said “my paintings demand that the audience that the audience become familiar with shona.” As you have already several exhibitions in New York, London, how do you see yourself and your work in
an international context?A: Contemporary art is international, my painting or some elements in my paintings can mean something while it has a different meaning in other cultures, I am open to people finding their own ideas in my work. For me, my experience (creating the artwork) is more in the studio than in the gallery. My work however often provokes questions and conversations and it is through these conversations that I can speak about my own cultural context for the work. But what I find through traveling is that ideas that inform my paintings are shared around the world. I talk about peoples’ relationships, hypocrisy and political games in Zimbabwe, which they recognise in their own environments.
Exhibition View, New Musuem, New York, USA, 2018Q: 在2019年，Frieze将你的画和Jean-Michel Basquiat作为比较，这对于你自己、你的作品的定位产生影响吗?A: 津巴布韦是一个和殖民主义和种族主义斗争而获得了独立的国家。所以在我认为，Frieze把我和Basquiat的比较是关于我们的一些风格和我们对于人物和政治的评论。我看着Basquiat的作品长大，他是一个鼓舞人心的人物，他抨击了美国的种族主义。我不会想被打上标签，比方说，我会对于被邀请参加一个汇集 世界各地不同文化背景的优秀艺术家的展览更加感兴趣，而不是一个专注于非洲艺术家的展览。Q: In 2019, frieze refers your work to Jean- Michel Basquiat.as an african artist, would it affect how you position yourself and your work, or your decision on your work?A: Zimbabwe is a country, which fought against colonialism and racism and won its independence. So I think the comparison with Basquiat made in Frieze is about some style and approach to figuration and political commentary. I grew up seeing Basquiat’s work, he is an inspirational figure and he commented on racism in the USA. I wouldn't want to be tagged into boxes, for example, I would be more interested in being invited to an exhibition with participation of great artists from everywhere with different cultures than an exhibition focusing on exhibiting African artists.我期待我的观众用全新的视觉去看待我的作品。不要去问太多，比如这个作品是什么意思，而 去问“对于我来说，这个作品意味着什么?”我希望每个人和我的作品都能够有自己独特的体 验和互动，作为一个艺术家，这对于我来说很有价值。Q: What do you expect from your audience?A: I expect all of my audiences to look at the work with fresh eyes. Not to ask too much, what does this work mean but to ask, ‘what does this work mean to me?’. I want each person to have their own special experience and response to the work and this is what is valuable to me as an artist.
Exhibition View, Vanguard Gallery, 2019在津巴布韦，中国的印象是复杂的，我们的国家和中国有着很深入的合作关系，我们非常羡慕 中国在经济发展方面的成果，也希望这也在津巴布韦有发生的可能。同时，我们对于中国的文化和人民非常的陌生，所以很难去建立一种认知。对于我来说，中国和津巴布韦之间建立了很 好的关系，所以在中国办展览是一个非常积极正面的事情。A:The image of China in Zimbabwe is complex – our country has a strong partnership with China and we admire the Chinese economic success and hope that this progress is also possible for us in Zimbabwe. At the same time, we don’t know too much about Chinese culture or people so it is difficult to build up an idea of a place. For me, China and Zimbabwe has a good relationship, so having an exhibition in China is a positive thing for sure.
Exhibition View, Vanguard Gallery, 2019格雷沙姆•塔皮瓦•尼奥德 1988 年出生于津巴布韦哈拉雷，2008 年获得津巴布韦国家美术馆视觉艺术工 作室国家美术证书。现工作生活于哈拉雷。近期展览包括:”叛逆者诗歌“，Vanguard 画廊，上海，中国 (2019);“日与夜”，GNYP 画廊，柏林，德国(2019);“夜与日”，一楼画廊，哈拉雷，津巴布韦 (2019);“哈拉雷野兽派”，Alon Ragev 画廊，特拉维夫，以色列(2019);“破坏之歌”，新美术馆三年展，纽约，美国(2018);“蔑视叙事”，常青项目，旧金山，美国(2018);“非洲之外”，Yannick & Ben Jakober 基金会，马略卡岛，西班牙(2018); “Kubatana”，Kristiin Hjellegjerde Gallery，伦 敦，英国(2018 双人展);“Mazino”，一楼画廊，哈拉雷，津巴布韦(2017 个展);“面对奇迹:面具 舞与其后人”，Loving Monro 画廊，圣莫妮卡，美国(2017);“另一个新世界/城市轴”，PS 艺术空间， 弗里曼特尔，澳大利亚(2017)。Gresham Tapiwa Nyaude was born in 1988 in Harare, Zimbabwe. In 2008 he received his National Certificate in Fine Arts from National Gallery of Zimbabwe Visual Arts Studios. Now he lives and works in Harare. Recent exhibitions include: Poetry of the Rebels, Vanguard Gallery, Shanghai, China(2019); Day and Night, GNYP Gallery, Berlin, Germany (2019); Night & Day: Mundopa/Nyaude, First Floor Gallery Harare, Zimbabwe (2019); Harare Fauves, Alon Ragev Gallery, Tel Aviv, Israel (2019); 2018 Triennal:Songs for Sabotage, New Musuem, New York, USA (2018); Defying the Narratives, Ever Gold Projects, San Francisco, USA (2018); Ex Africa Aliquid Novi, Yannick y Ben Jakober Foundation, Mallorca, Spain (2018); Kubatana , Kristin Hjellegjerde Gallery, London, UK (2018 Duo Exhibition); Mazino, First Floor Gallery Harare, Harare, Zimbabwe (2017 Solo Exhibition); Face the Magic: Gule Wamkulu and its heirs, Loving Monro Gallery, Santa Monica, USA (2017); Another Antipodes/urban axis, PS Art Space, Freemantle, Australia (2017)
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