安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London
卡迈勒 · 梅隆赫画廊
地址：47 rue Saint‑André‑des‑Arts, Paris 6专业人士及私人仍可预约参观，时间为周一至周六，上午11时至下午6时。
预约参观或有其它要求，欢迎联系
galerie@kamelmennour.com
或致电+ 33 1 56 24 03 63.
“没有什么秘密，我只是通过逐渐渗透而非强行介入，身处于世界的奥秘之中”，安 · 维罗尼卡 · 詹森斯在提到自己的创作方式时如是说道（此处及下文引言均出自本文作者2020年3月9日与艺术家的对谈）。既无奥妙，也非奇迹：她的作品不过是深入材料之中，从而展现出光、色彩、动作、时空……她的作品揭示了现实的魔力，掀起波浪，触动隐秘的感知。卡迈勒 · 梅隆赫很高兴为詹森斯举办在画廊的第三次个展。这位享誉全球的比利时艺术家最具代表性的创作包括彩色光雾系列（例如2013年的《幻想》），曾载入艺术史。
安 · 维罗尼卡 · 詹森斯通过最新个展“天空”催生了一次太空旅行：在其中，空旷及作品与宇宙、地球、太阳和人类形成共鸣。由于作品比例的变化——从无穷大到无穷小——每位观看者均可按照自己的感觉，与展览互动。而最珍贵的作品，无疑是观看者通过在展览现场的体验，进而在内心雕琢孕育出的感受。安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London首先映入眼帘的作品是《The Skeis》……哎呀说错了，是《The skies…》（英文的“天空”一词）。这段文字节选自20世纪初的一篇科普文章，描绘了一场巨大的火灾过后，天空中绚丽而混乱的景象。天空是绿色的，橙色的，多色的，但唯独蓝色消失了。安 · 维罗尼卡 · 詹森斯打乱了众多单词的字母拼写顺序，强化这一混乱感。懂英语的人在读到这段文字时会惊奇地发现，大脑会当即自动修复混乱的拼写。与此类似，2012年艺术家在日内瓦的一座建筑上展示的一件作品，是巨大的白色霓虹字母组成的一句话“L’odrre n’a pas d’ipmrotncae”（顺无序关要紧）。说法语的观众看到作品时旋即在脑中修正了拼写顺序。《The Skeis》（2019）中拼写混乱的文字如同一道关于我们这个人类世阶段的神谕，在其中，生命的未来充满了不确定性。这种混乱如同古时用谜题预言未来的女预言师的话语，需要我们的解读。在旁边的空间内，印在光泽纸上的摄影作品《天空中的五条粉色的线，随机排列》（2020）同样让人联想到占卜者通过群鸟飞行的痕迹，判断吉兆或凶兆。只不过，这里的红色印记是由飞机划过云层形成的，是人造物的残留，并留下了污染空气的碳足迹，进而影响到地球的命运。这一道道水汽痕迹向我们预言了什么？无论如何，它们开启了无垠的想象，在以“每10亿年5%到10%的速度”（出自史蒂芬 · 霍金的《时间简史》，巴黎弗拉马里翁出版社，2017）不断扩张的宇宙中，画下了偶然的方向。所谓空旷，实际是星系间不断扩张的空间，宇宙并非静态。一切皆为动态。太阳亦不例外，它也正在走向50亿年后会发生的终结（参见美籍越裔天体物理学家郑春顺的著作《混乱与和谐》，巴黎法亚尔出版社，1998）。安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London
太阳既带来了明媚幸福的日子，也可以是狂暴可怕的敌人。一个茅草屋顶靠墙而立，像是盾牌。这类屋顶在一些地方的传统建筑中被称作“房子的天顶”，是在太阳和人之间的一种分界面。如同遮阳伞、百叶窗和遮阳帽一样，这些都曾是艺术家几件作品的灵感来源（《垂直帘百叶窗》、《百叶窗》、《牛仔帽》等）。这类作品都是用金箔纸制作出金光熠熠效果的现成品。这个茅草屋顶（《雨伞》，2020）是詹森斯作品中的一个新的分界面，而茅草本身则是一种始终吸引艺术家的材料。
地面雕塑对安 · 维罗尼卡 · 詹森斯的创作探索至关重要（例如《安特卫普-金沙萨-胡姆勒拜克》（2012-2020），《闪耀的蓝》（2015）），在这件作品《大西洋》（2020）中呈现出全新的形式。层层叠加的玻璃板上印出起伏的效果。似乎有水在其中波动荡漾。这从天空到地面、从地面到天空之间的往来为整个展览注入了动态。这件作品或许是为了呼应美国极简主义大师卡尔 · 安德烈：他曾将作品在地面上水平摆放（《144个锡制方块，1967），而不是高高竖起，为雕塑带来了革新。卡尔 · 安德烈坐着皮划艇在水面前行时灵光一现，便有了这一艺术史上的重大革新（参见艺术家与伊梅琳 · 勒比尔的对谈，《艺术？这是最棒的想法！》，巴黎杰奎琳 · 香本出版社，1997）。安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London
安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021
© ADAGP Ann Veronica Janssens.
Photo. archives kamel mennour
Courtesy the artist and kamel mennour, Paris/London
在第三个展厅中仅呈现了两个固定在地面的《蓝色玻璃空心圆柱》（2019），突出了空间的空旷感。每件作品重357公斤。地心引力让它们重得无法被抬动，“但只需手指一弹，它们便能滚动起来”。浑圆的形状轻松消解了重力，而时间也在重量中注入了轻盈感。在漫长的晾干过程中，玻璃柱内部产生了一些气泡，并试图从中释放出来。其中一些成功了，而另一些则被禁锢在玻璃柱内，形成了“一小方宇宙”。
展览“天空”是一场充满诗意的实验，地心引力与失重状态、运动与重力在时空中交织，一次次开启了身处于世的惊艳。而这场太空旅行没有止步于此。2021年春，安 · 维罗尼卡 · 詹森斯将在巴黎先贤祠围绕傅科摆（1851年科学家傅科证明地球自转所用的实验装置）制造令人目眩的反光与衍射效果，为这座新古典建筑殿堂带来律动。艺术家届时还将制造其它共振效果。安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London
安 · 维罗尼卡 · 詹森斯个展现场，卡迈勒 · 梅隆赫画廊（地址：47 rue Saint‑André‑des‑Arts），巴黎，2021© ADAGP Ann Veronica Janssens.Photo. archives kamel mennourCourtesy the artist and kamel mennour, Paris/London安 · 维罗尼卡 · 詹森斯1956年出生于英国福克斯通，现于比利时布鲁塞尔居住和创作。詹森斯已举办多次个展，包括：南伦敦画廊、胡姆勒拜克路易斯安那现代艺术博物馆（2020）；荷兰蒂尔堡的德邦基金会，芬兰赫尔辛基的奇亚斯玛当代美术馆，美国巴尔的摩艺术博物馆（2018）；法国维勒巴讷当代艺术中心（2017）；美国达拉斯的纳什尔雕塑中心（2016）；以及比利时根特的SMAK当代艺术博物馆（2015）。2003年艺术家的作品《红106 - 蓝132》参加了巴黎奥赛博物馆的展览“抽象艺术的起源1800-1914”。艺术家曾和米歇尔 · 弗朗索瓦一同代表比利时参加1999年的第48届威尼斯双年展。她曾参加许多其它国际双年展，如阿联酋的沙迦双年展（2019）、俄罗斯圣彼得堡举办的第10届Manifesta艺术节（2014）、第11届和第18届悉尼双年展（1998-2012）、西班牙穆尔西亚举办的第8届Manifesta艺术节（2011）、第5届首尔国际双年展（2006）、第5届伊斯坦布尔国际双年展（1997）和第22届圣保罗国际双年展（1994）。她还曾多次与皮埃尔 · 德鲁勒斯和安妮 · 特雷莎 · 德 · 基斯梅克等著名编舞家合作。自2009年起，她还与纳塔莉 · 厄吉诺一起在维勒巴讷当代艺术中心发起了 “大脑空间实验室”，这一跨学科的项目融合了艺术家和科学家的思想与经验。
从1985年起，詹森斯多次参加重要群展，如：英国伦敦海沃德画廊的“转移空间”、比利时布鲁塞尔维尔斯当代艺术中心的“缺席的博物馆”（2017）；胡姆勒拜克路易斯安那现代艺术博物馆的“照明”（2016），英国爱丁堡果市画廊的“另一种极简主义”（2015）；德国汉诺威史普格尔博物馆的“十个房间，三个凉廊和一个大厅”（2015）；分别在法国梅兹蓬皮杜艺术中心和东京森美术馆举办的“简单的形状”（2014）；先后在英国伦敦海沃德画廊、澳大利亚悉尼当代艺术博物馆和阿联酋沙迦艺术基金会呈现的“灯光秀”（2013-2015）；巴黎大皇宫国家美术馆的“Dynamo，1913-2013，艺术中的光与运动世纪”（2013）；巴黎蓬皮杜艺术中心的“激情之果”（2012）；奥地利维也纳格内拉利基金会的 “未展出”（2011）；加拿大安大略省发电厂当代美术馆的“通用代码”（2009）；美国洛杉矶当代艺术博物馆的“摇头丸，改变状态中与关于改变状态”（2005）；荷兰奥特洛克勒-米勒博物館的“自然”（2002）；荷兰鹿特丹维特得维兹当代艺术中心和博伊曼斯 · 范伯宁恩美术馆举办的“刺激”（1999）。艺术家近期的新项目包括：2021年春，受法国国家文物遗迹中心邀请，为巴黎先贤祠创作大型作品《23:56:04》；2022年秋，艺术家将在意大利米兰的倍耐力比可卡艺术中心举办个展。
47 rue Saint‑André‑des‑Arts, Paris 6
In accordance with the latest governmental measures, the gallery is temporarily closed to the public.
Professional and private visits are still possible from Monday to Saturday, from 11am to 6pm.
We are at your disposal to answer all your requests and make appointments, by email: galerie@kamelmennour.com, and phone: + 33 1 56 24 03 63.“The eye: ever flowing spring” Airs, Paris, éd. Gallimard, 1967
‘There’s no secret, I’m in the world’s mysteries,’ (All artist quotes come from an interview with the author, 9 March 2020) says Ann Veronica Janssens, speaking about her way of creating by ‘infiltrating rather than imposing herself.’ There are no arcana, nothing prodigious about it. Her works simply insinuate themselves into matter, acting like a developing fluid for colour, light, movement, spacetime... Her works unveil the magic of the real, playing on its waves, stirring our deepest perceptions. Kamel Mennour is pleased to present the third solo exhibition of this internationally renowned Belgian artist whose mists of coloured light have already left their mark on art history (Fantazy, 2013, for instance).For this new exhibition, ‘airs’, Janssens is setting in motion a space voyage in which works and void resonate with the Universe, the Earth, the Sun, and humanity. Shifting scale from the infinitely large to the infinitely small, each visitor will enter into the exhibition in his or her own way, following his or her own sensibility. And the most precious works are sure to be the inner perceptions produced and shaped through the experience of the exhibits.The voyage begins with The Skeis... woops: ‘The skies’. Here an early twentieth-century text describes the coloured chaos of the sky after a huge fire. It’s green, orange... a whole range of colours except blue. Janssens intensifies this chaos through the disorder of the letters of the text. An English-speaker who reads it will be surprised at the capacity her brain has for spontaneously correcting the typographic confusion. The same could be experienced by French speakers in 2012 with a work Janssens presented on a building in Geneva, where huge white neon letters spelled out the sentence: ‘L’odrre n’a pas d’ipmrotncae’. Here too, the brain instantly supplied the correct order. The scriptural chaos of The Skeis... (2019) is like an oracle for the time of the Anthropocene, in which the future of life has become uncertain. The words are like those of an ancient Oracle telling the future in riddles we are required to interpret. In the next room, a series of photographs on high gloss paper, 5 Lines of Pink in the Air, Randomly (2020), are similarly evocative of the omens for good or ill augurs used to read in the flight of birds. With the slight difference that these traces of pink sunset randomly drawn through the clouds have been produced by aeroplanes, by artefacts whose carbon footprint pollutes the air and impacts the fate of the planet. What do these lines cut through water vapor tell us? One thing is sure, they open up an infinity of space, drawing lines of chance through a Universe that we know is continually expanding by ‘5-10% every billion years’ (Stephen Hawking, A Brief History of Time, 1988). The void, intergalactic space are expanding, the Universe is not static. Everything is movement. Even the Sun is approaching its death in about five billion years (Trinh Xuan Thuan, Le Chaos et l’Harmonie, Paris, éd. Fayard, 1998).For now, the solar star is our friend, even if it can also be a burning enemy. Placed on the floor against the wall, the thatch roof, which in some traditional houses is called "the sky of the house", is shaped like a shield. It’s an interface between the Sun and humanity, like the umbrellas, blinds, and hats that one finds in a number of Janssens’ works (Californian Blind, Venetian Blind, Chapeau (Stetson)...) All of them are ready-mades covered in gold leaf and radiant with light waves. The thatch roof (Umbrella, 2020) is a new interface in Janssens’ body of work, but she has been interested in thatch for a long time.There is in a back-and-forth movement between floor and air running throughout the exhibition. Horizontal sculpture has played a central role in Janssens’ investigations over time (Anvers-Kinshasa-Humlebæk, 2012-2020, Untitled (Blue Glitter), 2015, etc.). Atlantic (2020) is a new iteration made of layers of relief-printed glass plates. Water seems to undulate within it. There is perhaps an echo of the American minimalist Carl Andre here, whose innovation was to lay his sculpture 144 Tin Square (1967) flat rather than vertically, an art historical shift that came to Andre as he was kayaking (Interview with Irmeline Lebeer, L’Art ? C’est une meilleure idée !, Paris, éd. Jacqueline Chambon, 1997).In another room, two rolls of cast glass are also riveted to the floor. The cylinders of Blue Glass Roll (2019) are alone in the room, accentuating the emptiness of the space around them. They each weigh 357 kilos, which with the earth’s gravity makes them impossible to lift. ‘And yet you only need to flick them and they will roll.’ Roundness plays on gravity and time has left lightness within the very matter of weight. During the long period the glass took to set, air bubbles formed in it and tried to escape. Some managed to, while others remained trapped, and now contain ‘a piece of the cosmos’...The exhibition ‘airs’ is a poetic laboratory where weight and weightlessness, movement and gravity mix with space and time, opening again and again onto the wonder of being in the world. And the space voyage doesn’t stop there. It will continue this spring 2021 in the Pantheon in Paris, where Janssens will set the magisterial neo-classical architecture into motion through a series of vertiginous reverberations and diffractions around Foucault’s Pendulum. There will be yet other kinds of resonance at work there.Born in 1956 in Folkestone – UK, ANN VERONICA JANSSENS lives and works in Brussels, B.Her work has been the subject of numerous solo exhibitions: at the South London Gallery in London–UK and at the Louisiana Museum in Humlebæk–DK (2020); at the De Pont Foundation in Tilburg–NL, at the Kiasma Museum in Helsinki–FL, at the Baltimore Museum of Art–USA (2018); at the Institute of Contemporary Art in Villeurbanne–FR (2017); at the Nasher Sculpture Center in Dallas–USA (2018), and at the SMAK in Ghent–B (2015). In 2003, she participated in the exhibition "Aux origines de l'abstraction. 1800-1914" at the Musée d’Orsay in Paris, with the proposal Red 106 - Blue 132. In 1999, she represented Belgium at the 48th Venice Biennale with Michel François and her work has been part of many other international biennials such as Sharjah Biennial–UAE (2019); Manifesta 10, St Petersburg–R (2014); 11th and 18th Biennales of Sydney–AUS (1998-2012); Manifesta 8, Murcia – ES (2011); 5th Seoul International Media Art Biennial, KR (2006); 5th Istanbul International Biennial–TR (1997) and 22nd São Paulo International Biennial–BR (1994).She has also collaborated on several occasions with choreographers such as Pierre Droulers and Anne Teresa De Keersmaeker. Since 2009, she has also initiated with Nathalie Ergino the "Brain Space Laboratory" of the Institute of Contemporary Art of Villeurbanne, an interdisciplinary project that brings together the reflections and experiences of artists and scientists.Since 1985, she has participated in major group exhibitions such as "Shifting Spaces", Hayward Gallery, London–UK, "Le musée absent" in Wiels, Brussels–B (2017), "Illumination" at the Louisiana Museum of Modern Art, Humlebæk–DK (2016); "Another Minimalism" at the Fruitmarket Gallery, Edinburgh–UK (2015); "Zehn Räume Drei Loggien und Ein Saal" at the Sprengel Museum, Hanover–DE (2015); "Simple Forms" at the Centre Pompidou Metz–FR and the Mori Art Museum, Tokyo–J (2014); "Light Show" at the Hayward Gallery, London–UK, the Museum of Contemporary Art of Sydney–AU and the Sharjah Art Foundation–UAE (2013-2015); "Dynamo. Un siècle de lumière et de mouvement dans l'art 1913-2013" at the Galeries Nationales du Grand Palais, Paris–FR (2013); "Fruits de la Passion" at the Centre Pompidou, Paris–FR (2012); "unExhibit" at the Generali Foundation, Vienna–AT (2011); "Universal Code" at The Power Plant - Contemporary Art Gallery, Ontario–CA (2009); "Ecstasy, In And About Altered States" at MOCA, Los Angeles–USA (2005); "Natuurlijk" at the Kröller-Müller Museum, Otterlo–NL (2002); "Stimuli" at the Witte de With and Museum Boijmans Van Beuningen, Rotterdam–NL (1999). The artist's future projects include in the spring of 2021, and at the invitation of the Centre des monuments nationaux, the conception of a monumental work – 23:56:04 – for the Panthéon in Paris, and in the autumn of 2022 a solo exhibition at the Pirelli HangarBicocca Foundation in Milan.
CURRENT EXHIBITIONS
Ann Veronica Janssens
Airs
47, rue Saint-André-des-Arts, Paris 6
19/03 - 30/04/2021
Dan Flavin
《monument》for V.Tatlin,1969
6, rue du Pont de Lodi, Paris 6
19/03 - 17/04/2021
Daniel Buren - Philippe Parreno
Simultanément
Travaux in situ et en mouvement
5, rue du Pont de Lodi, Paris 6
05/12/2020 - 17/04/2021
François Morellet
Répartition de 16 formes identiques
28, avenue Matignon, Paris 8
10/03 - 03/04/2021
47, rue Saint‑André‑des‑Arts
75006 Paris
France
&
5 & 6, rue du Pont de Lodi
75006 Paris
France
+33 1 56 24 03 63
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London W1K 4HR
United Kingdom
+ 44 207 495 32 00
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