https://app.artsvp.co/35f0d9玛丽安 · 古德曼纽约画廊荣幸举办朱莉 · 梅雷图（Julie Mehretu）最新个展“关于半小时的空间”（About the space of half an hour）。展览将持续到12月23日周三。这是梅雷图在玛丽安 · 古德曼纽约画廊的第三次个展。朱莉 · 梅雷图 / “关于半小时的空间”展览现场，北展厅，玛丽安 · 古德曼纽约画廊，2020朱莉 · 梅雷图 / “关于半小时的空间”展览现场，北展厅，玛丽安 · 古德曼纽约画廊，2020朱莉 · 梅雷图 / “关于半小时的空间”展览现场，北展厅，玛丽安 · 古德曼纽约画廊，2020
这次个展包含了艺术家过去一年中完成的全新画作，以《启示录》为参照，预言在第七封印被解开后天堂将迎来不祥的寂静。整个展览可分为两个截然不同的部分，第一组作品开始于疫情爆发前，第二组作品则是纽约禁足期间艺术家在位于纽约上州的丹尼斯顿山艺术村（Denniston Hill）中实现的。丹尼斯顿山是一个由朱莉 · 梅雷图、保罗 · 菲佛（Paul Pfeiffer）和劳伦斯 · 蔡（Lawrence Chua）共同成立的艺术家社群及驻留计划，是一个以跨学科创作、提出问题并引发讨论为目的的艺术场所。
朱莉 · 梅雷图 / 《对话(S.M. del Popolo/after C.)》, 2019-2020 / 布面墨水和丙烯颜料 / 243.8 x 304.8 cm梅雷图的新作以明艳饱满的色彩绘出壮阔的画面，重构了抽象创作以及她的运笔手法。她展现的这一系列图景以光线和轮廓的模糊感形成独有的构图，明亮与幽暗交织，看似通透又难以渗入。梅雷图通过动力和重力的作用自如运用断裂与凝聚的效果，制造漩涡、痕迹、条纹、半色调图案和跳跃的计算机风格纹样。她以鲜艳的色彩突显局部画面的同时，也使附近产生时空塌陷般的幽暗对比。
朱莉 · 梅雷图 / 《关于半小时的空间（R：8.1）4》, 2019-2020 / 布面墨水和丙烯颜料 / 243.8 x 182.9cm
朱莉 · 梅雷图 / 《关于半小时的空间（R：8.1）6》, 2019-2020 / 布面墨水和丙烯颜料 / 243.8 x 182.9cm
画廊北厅展出了艺术家在因疫情封城期间创作的七幅画作。它们表现为一组浮现的画面，其痕迹既模糊隐晦又清晰可见。半透明的残痕在画布表面徘徊，如同当下这个时刻的残存，也像是陷入画布中的某些物质所存余的部分。而这些存在于表面之下的物质才是创作的最初来源，它们隐秘而活跃，演化成神秘多变的形态，带动画布从底层逐渐延伸到表层的动态。梅雷图在发挥直觉对这些渐次上升的画面层次进行调整时，运用了多种技术来唤起情绪在想象飞驰、解脱释放、萦绕不去、哀悼感伤和休止停息之间的此起彼伏，邀请观众融合到这一转瞬即逝的体验中来，并与之互动。
朱莉 · 梅雷图 / “关于半小时的空间”展览现场，北展厅至南展厅，玛丽安 · 古德曼纽约画廊，2020朱莉 · 梅雷图 / “关于半小时的空间”展览现场，南展厅，玛丽安 · 古德曼纽约画廊，2020朱莉 · 梅雷图 / “关于半小时的空间”展览现场，南展厅，玛丽安 · 古德曼纽约画廊，2020
梅雷图从原始图像已经模糊或被擦除的摄影图像出发，在其之上逐层叠加丝网印刷、墨水、丙烯颜料和素描，并用绘制、喷烤、磨砂和擦除等手法，来实现并回应一幅图像的潜力。在“隐含性”（implicit）的牵引下，我们会见证这个时代的种种迹象和灾难，并预想新的可能。对于发生变异并改写我们集体意识的现实，每幅画面都像是一种调和，并与诸多议题产生共鸣，例如从在我们心中一闪而过的事件，到人类迁徙、剥夺和全球性现象。
朱莉 · 梅雷图 / 《马赫斯神（Mihos）的火炬》, 2018-2019 / 布面墨水和丙烯颜料 / 243.8 x 182.9cm
朱莉 · 梅雷图 / 《恩赐 (托妮 · 莫里森之后)》, 2019-2020 / 布面墨水和丙烯颜料 / 243.8 x 304.8cm
一组巨幅画作从北展厅延伸到南展厅，这是艺术家在过去两年中的创作，与她近期回顾展中的最新创作在时间上重叠。这些画作尺寸庞大，在气韵涌动的画面上种种纹路鲜明跳跃，让人联想起灾难性事件的场面。潜意识的主题，不自觉地令人回想起当前的创伤。它们在表层之下酝酿，进而使色彩喷涌迸发，旺盛且危险。
朱莉 · 梅雷图 / “关于半小时的空间”展览现场，三楼展厅，玛丽安 · 古德曼纽约画廊，2020朱莉 · 梅雷图 / “关于半小时的空间”展览现场，三楼展厅，玛丽安 · 古德曼纽约画廊，2020
朱莉 · 梅雷图 / “关于半小时的空间”展览现场，三楼展厅，玛丽安 · 古德曼纽约画廊，2020
梅赫图的作品受到当下社会议题的推动，从移民危机到全球变暖和加州野火，生态灾难和飓风厄玛，从美国夏洛茨维尔（Charlottesville）极右暴力事件和右翼在国际政治中的抬头，到对法西斯主义和文化毁灭的错误推崇。同时，她的创作不局限于当下，而展现更广泛的意象，涉及历史、文学以及圣经故事，如在作品《恩赐（托妮 · 莫里森之后）》中，光的召唤与黑色阴影形成对比和拉锯；或《Hineni II》（“我在这里”，出自《圣经》）中的反乌托邦式火焰，指向《创世纪》以及对牺牲和谦卑的祈祷。
朱莉 · 梅雷图 / 《缓缓走向伯利恒：第一封印（R6:1）》, 2020 / 凹版印刷，凹版腐蚀法版画 / 作品：169.9 x 208cm ，装框：183.5 x 223.5 x 6.3cm
朱莉 · 梅雷图 / 《缓缓走向伯利恒：第二封印（R6:3）》, 2020 / 凹版印刷，凹版腐蚀法版画 / 作品：169.9 x 208cm ，装框：183.5 x 223.5 x 6.3cm
在三楼展厅，首次展出的是艺术家2020年创作的四幅蚀刻版画《缓缓走向伯利恒》（Slouching Towards Bethlehem）。作品的巨大尺幅超越了传统版画局限，集合了各种动态、标记、字符以及可媲美其绘画的丰富色彩，展现了艺术家最新实践的视觉复杂性。这些作品由哥本哈根的Borch出版社发表，再次强调了素描、绘画和版画制作对艺术家的同等重要性。
朱莉 · 梅雷图 / 《黑色整体（for Okwui Enwezor（Charlottesville）》, 2017-2020 / 布面墨水和丙烯颜料 / 213.4 x 182.9cm
朱莉 · 梅雷图 / 《缓缓走向伯利恒：第三封印（R6:5）》, 2020 / 凹版印刷，凹版腐蚀法版画 / 作品：169.9 x 208cm ，装框：183.5 x 223.5 x 6.3cm与此同时，亚特兰大HIGH艺术博物馆（The High Museum，展至2021年1月31日）正在举办艺术家回顾展，集中了梅雷图从1996年至今的作品。回顾展的上一站是在加利福尼亚洛杉矶县立艺术博物馆（LACMA），接下来将前往纽约惠特尼美术馆（Whitney Museum of American Art）和明尼阿波利斯沃克艺术博物馆（The Walker Museum of Art）。朱莉 · 梅雷图的作品曾在众多重要美术馆以及双年展展出，包括卡内基国际艺术展（2004-2005），悉尼双年展（2006），纽约古根海姆美术馆（2010），第13届卡塞尔文献展（2012），沙迦双年展（2015），波尔图塞拉维斯当代美术馆（2017），剑桥大学Kettle’s Yard美术馆（2019）以及第58届威尼斯双年展（2019）。
朱莉 · 梅勒图最近被《时代》周刊评为2020年最有影响力的100名人物之一。她1970年出生于埃塞俄比亚的阿迪斯亚贝巴（Addis Ababa），现在纽约市生活和创作。她拥有密歇根州卡拉马祖学院的艺术学士学位，曾在塞内加尔达喀尔的谢赫 · 安达 · 迪奥普大学学习，并于1997年获得罗德岛设计学院硕士学位。此后，她多次获得著名奖项，包括：麦克阿瑟奖学金（2005），美国国务院艺术奖章（2015），纽约艺术领导力自由奖（2018），并于2017年入选美国艺术暨文学学会。
Julie Mehretu
About the space of half an hourMarian Goodman Gallery New YorkNovember 2 - December 23, 2020
Please use this link to make an appointmenthttps://app.artsvp.co/35f0d9Marian Goodman Gallery is delighted to announce about the space of half an hour, a solo exhibition of new work by Julie Mehretu on view through Wednesday, December 23rd, 2020. This will be the third solo exhibition of the artist at Marian Goodman Gallery, New York.Referencing the book of Revelation and presaging the threshold of foreboding silence in heaven after thebreaking of the seventh seal, about the space of half an hour will include new paintings completed over thepast year. Comprised of two distinct bodies of work, the first cycle of works was initiated prior to the pandemic, and the second cycle was made during the shutdown, in quarantine in upstate New York at Denniston Hill – an artist collective and residency program founded by Mehretu, Paul Pfeiffer and Lawrence Chua as a site for interdisciplinary creation, interrogation and debate.Mehretu’s new works reimagine abstraction and her language of gestural marks in an epic theater of saturated color. Providing vistas of clarity and opacity, transparency and impenetrability, Mehretu builds her compositions with blurs of light and contour. Navigating disruption and cohesion through motion and gravity – swirls, marks, streaks, halftone patterns, and glitchy computer shapes – Mehretu punctuates her paintings with vibrant color, indenting recesses’ and opaque intervals of space and time below.Presented in the North Gallery, the suite of seven paintings created during the Covid shutdown is embodied by emergent images whose traces are both metaphoric and visible. Translucent remains hover near the surface, as if a residue of this moment, a remnant of what is submerged within. The latter, the underlying source materials that initiate the works, are furtive and dynamic, metamorphosizing into vulnerable but prophetic forms that activate the canvas’s ground to surface layers through time. In her intuitive calibration of these escalating strata, Mehretu employs multiple techniques to conjure ephemeral areas of imagination, liberation, haunting, mourning and rest, inviting the viewer to merge and interact in the experience.Beginning with a photographic image as a point of departure, whose original is blurred and erased, Mehretuadds layer upon layer in a temporal process of screen print, ink, acrylic, and drawing, using paint, airbrush,sandpaper and erasure to realize and respond to the potential of an image. Implicit is our invitation toparticipate as witnesses to evidence and catastrophes of our time, to conceive of new possibilities. Alluding to the mediation of reality that mutates in and perpetrates our collective consciousness, each canvasresonates with subjects, from a flickering of events moving across our psychological screens, to migration,dispossession, and global phenomena. These volatile truths channel the imagination, revealing a piercingengagement through digital abstraction, which provides a space for investigation, autonomy, and invention.Other images abound, portals to memory and history, as well as potentialities of other paths forward.The group of monumental paintings on view in the North Gallery Viewing Room, which continue into the South Gallery, was created over the past two years and coincided with the most recent work in Mehretu’scurrent retrospective. Sweeping in scale, they contain a dynamic choreography of movement and swaths of pulsating color, evoking arenas of cataclysmic events. Subliminal subjects subconsciously call to mind a present trauma. Proliferating below the surface, they erupt in a riot of hues that are both exuberant and menacing. From the migration crisis, to global warming and California wildfires; ecological havoc and Hurricane Irma; from Charlottesville and the rise of the right in international politics, to incongruous celebrations of fascism and cultural ruin, Mehretu’s work is fueled by social concerns of our moment. Reaching beyond the present, her references range from the historic and literary to the biblical, as in the systemic maelstrom of mechanized urban space and uprising in Orient (after D Cherry, post Irma and summer); the summoning of light against sutured black shadows in A Mercy (after T.Morrison); or the dystopian flames of Hineni II, a reference to the book of Genesis and to prayers of sacrifice and humility.In the Third Floor Viewing Room, Slouching Towards Bethlehem, a suite of four new etchings from 2020, will be shown for the first time. Ambitious in scale beyond the confines of traditional printmaking, they display the visual complexity of her recent practice, containing gestures, marks, glyphs and depth of color reminiscent of her paintings. Published by Niels Borch Jensen, these works reiterate the parity between drawing, painting and print making as of the utmost importance to the artist.Mehretu’s touring retrospective which has recently opened at The High Museum, Atlanta, is in its secondvenue following the inaugural exhibition at LACMA, the Los Angeles County Museum of Art, California, which opened in November 2019. It will remain on view in Atlanta through January 31, 2021. A major catalogue was published by Prestel in 2019 to accompany the exhibition. The retrospective will also travel to The Whitney Museum of American Art, New York, opening in March 2021, and to The Walker Museum of Art, Minneapolis. Julie Mehretu’s work has been exhibited extensively in museums and biennials including at the Carnegie International (2004–05), Sydney Biennial (2006), Solomon R. Guggenheim Museum, New York (2010), dOCUMENTA (13) (2012), Sharjah Biennial (2015), Museu de Arte Contemporânea de Serralves, Porto, Portugal (2017), Kettle's Yard, University of Cambridge, UK (2019); and the 58th International Art Exhibition, La Biennale di Venezia (2019).Named recently as one of the 100 most influential people of 2020 by Time Magazine, Julie Mehretu, (b.1970, Addis Ababa, Ethiopia) lives and works in New York City. She received a B.A. from Kalamazoo College, Michigan, studied at the University Cheik Anta Diop, Dakar Senegal, and received a Master’s of Fine Art with honors from The Rhode Island School of Design in 1997. She has since received many prestigious awards including the MacArthur Fellowship in 2005, the U.S. Department of State Medal of Arts Award in 2015, and the Liberty Award for Artistic Leadership, New York in 2018. In 2017, she was elected to the American Academy of Arts & Letters.
正 在 展 出 I CURRENT EXHIBITIONSABOUT THE SPACE OF HALF AN HOUR 2 NOVEMBER – 23 DECEMBER 2020
Please use this link to make an appointmenthttps://app.artsvp.co/35f0d9newyork@mariangoodman.comMonday - Saturday, 10 am – 6 pm Temporary closure in accordance with COVID-19 restrictions until further notice.
Tuesday - Saturday, 10 am – 6 pmTemporary closure in accordance with COVID-19 restrictions until further notice.
Tuesday - Saturday, 11 am - 7 pm
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