2022北京当代艺博会参展画廊｜Yavuz Gallery

9月29日至10月2日，北京当代·艺术博览会与您相约全国农业展览馆的11号馆，共度艺术的初秋，相聚共同的节日。超过140家参与机构，将呈现一届艺术类型和行业生态最为全面缤纷的艺博会，全方位地展现当代艺术丰富多彩的面貌和蓬勃发展的生态，给大家带来一场斑斓夺目的艺术“万花筒”。

价值 VALUE

展位号 Booth No.

C4

① 2022年希望看到画廊或艺术行业内的哪些变化？

更深入地欣赏和承认在主要城市之外运作和存在的艺术飞地、社区和中心，以及进入其中的工作。

A deeper appreciation and acknowledgement of art enclaves, communities and hubs that operate and exist outside of major cities, and the work that goes into it. 

② 工作中会播放什么类型的音乐？

爵士乐和新灵魂乐。

Jazz and neo-soul.

③ 在元宇宙中您会选择一个什么样的虚拟身份？

我会在历史准确领域的不同时间段内采用特定身份。假设我想变身。我很想体验埃及皇室的古老婚礼传统，因为著名的统治者和女王克娄巴特拉（Cleopatra）见证了印刷大师最早的平版印刷形式，甚至是平庸的日常生活。

I would take on specific figures throughout different time periods across historically accurate realms. Hypothetically, I would be a metamorphose. I would love to experience the ancient wedding traditions of Egyptian royalties as famed ruler and Queen, Cleopatra, witness the earliest form of lithography from master printmakers, or even banal everyday routines.

④ 在您画廊今年的展览计划中最期待哪一个展览？

我对即将在新加坡与汤姆·波罗 (Tom Polo) 的个展感到非常兴奋，他是他那一代澳大利亚最受赞誉的画家之一。他使用绘画和绘画环境来探索对话、怀疑和手势如何体现在肖像画中。在他最近的作品中，在澳大利亚阿德莱德双年展的最新版本中展出，汤姆·波罗利用他自己与人的亲身经历，并将他们提升为荒诞人物、古怪人物和不合时宜的戏剧叙事。

I am very much excited for our upcoming solo exhibition in Singapore with Tom Polo, one of the most most acclaimed painters of his generation in Australia. He uses paintings and painted environments to explore how conversation, doubt and gesture are embodied in acts of portraiture. In his recent works, shown at the latest iteration of the Adelaide Biennale in Australia, Polo draw upon his own personal experiences with people and elevate them into theatrical narratives of absurdist characters, oddballs and misfits. His works are the embodiment of movement, dialogue, and self-examination in a complex yet controlled mishmash of paint, brushstrokes and techniques.

⑤ 如果没有疫情限制，您夏日的旅行目的地会是？

意大利威尼斯，第 59 届威尼斯双年展展示了我们的一位艺术家 Pinaree Sanpitak。她被广泛认为是东南亚最重要的当代艺术家之一，她的作品以令人难以置信的大脑方式体现了女性的经历。我喜欢 Pinaree 以如此复杂和谨慎的方式处理她作品的物质性的方式。双年展主展的女性强队也有许多我最喜欢的艺术家。

Venice, Italy for the 59th Venice Biennale as it showcases one of our artists, Pinaree Sanpitak. She is widely regarded as one of Southeast Asia’s most important contemporary artists, and her work embodies the experiences of being female in an incredibly cerebral manner. I love the way Pinaree approaches the materiality of her works with such intricacy and care. The female-strong line up for the main exhibition of the Biennale also features many of my favourite artists. 

⑥ 平时在画廊工作时最喜欢点的外卖是哪家？

我们在画廊后面有一家美食酒吧，供应“盛开的洋葱” – 用四川粉红胡椒和大蒜调味的完美油炸洋葱鳞茎。与冰镇啤酒完美搭配！

We have a gastropub located right behind the gallery that serves a ‘Blooming Onion’ – a perfectly deep-fried whole onion bulb that is seasoned with Szechuan pink peppercorns and garlic. Perfectly paired with an iced cold beer!

⑦ 如果有时光机，您最想去哪一年？

1930年代（黄金时代）的上海。

The 1930s (Golden Era) of Shanghai. 

⑧ 目前您的画廊团队有多少工作人员？

我和 7 位了不起的同事。

7 amazing colleagues and I.

⑨ 您画廊团队中的性别比例是怎样的？

3 男 : 5 女

3 male : 5 female 

⑩ 请推荐一件适合在初秋的北京当代艺博会现场观赏的作品

《Bibbenluke》是Guido Maestri 的一幅大型且极具质感的画作。该作品以新南威尔士州的一个小镇命名，描绘了澳大利亚本土和引进的植物群，而形式和情感色彩则参考了儿童书籍故事。Maestri 是一位来自澳大利亚的屡获殊荣的画家，他以探索绘画的物质性、姿态和观察力的高质感、富有表现力的作品而闻名。他最近的作品灵感来自他每晚给儿子读的故事书中的一些神秘风景，其中一些是他母亲小时候给他读的。在工作室里，这些画作脱离了它们在空气中的开端，变成了在现实中摇摆不定的想象、俏皮的世界。Maestri 的手势绘画练习使用厚涂技术，使画笔或画刀笔触可见。从他激烈的绘画标记中散发出的运动和能量揭示了郁郁葱葱、充满活力和生动的风景。

“Bibbenluke” is a large-scale and highly textural painting by Guido Maestri. Named after a town in New South Wales, the work depicts native and introduced flora that is distinctly Australian, while the forms and emotive colours references children book stories.

Maestri is an award-winning painter from Australia, and he is renowned for his highly textural, expressive works that explore painted materiality, gesture and observation. His recent works are inspired by some of the mystical landscapes in the story books he reads to his son every night, some of which his mother read to him as a child. In the studio, the paintings depart from their en plein air beginnings to become imaginary, playful worlds that sway in and out of reality. Using an impasto technique, Maestri’s gestural painting practice leaves brush or painting-knife strokes visible. The movement and energy that transpire from his fierce painterly mark-making reveal lush, dynamic and lively landscapes.

Guido Maestri

Bibbenluke, 2022

oil on French polyester, 199 × 153 cm

Courtesy of the Artist and Yavuz Gallery