Vincent CAZENEUVE
My Side of the Mountain
文森·漆
山中不知年
Bldg 105, 199 Hengshan Rd, Shanghai
杜梦堂(上海)荣幸呈现法国艺术家文森·漆(Vincent CAZENEUVE)个展“山中不知年”。这是画廊为艺术家举办的第三次个展，集中展出艺术家定居大巴山两年来的最新创作实践。此次将展出近二十件作品，其中包括多件大尺幅新作。展览囊括了他对古代彝族漆文化的深入调研，同时延续了他跨越时间维度的材料和工艺探索。
中国的传统技艺在文森的手里变活了，非物质文化遗产活化。活化，我觉得文森探索出一条路，现代艺术家的思想，但是把古代的技艺给他植根于现代生活。而他找到新的土壤，虽然是一个古老的种子，开出新花来，而这就是创新。—— 柳冠中，清华大学美术学院教授
Vincent CAZENEUVE | 文森·漆 (b.1977)
Chinese lacquer, rice bag fabric, mother-of-pearl inlay, iron powderVincent CAZENEUVE | 文森·漆 (b.1977)
Untitled (details) | 无题 (局部)Chinese lacquer, rice bag fabric, mother-of-pearl inlay, iron powder
DUMONTEIL Shanghai is pleased to present My Side of the Mountain, the solo exhibition of French artist Vincent Cazeneuve. This is the artist’s third solo show with the gallery, showcasing his most recent practice in the last two years after his resettlement in the Daba Mountains in central China. Featuring nearly twenty works, including several large-scale pieces, the exhibition encompasses his insightful research into ancient Yi lacquer culture, while continuing his exploration of materials and craftsmanship across time.
What he presents is China in his eyes, the traditional craftsmanship of China. He brings life to this skill(lacquer), the renaissance of intangible cultural heritage. Vincent has explored a path — the idea of a modern artist, but rooting the ancient skills in modern life. And he finds new soil for an old seed to grow and to bloom. And that is what we call innovation.
—— Liu Guanzhong, Professor, School of Fine Arts, Tsinghua UniversityVincent CAZENEUVE | 文森·漆 (b.1977)Chinese lacquer, water buffalo skin, sheep skin, rice bag fabric, bronze powder, iron powder
Vincent CAZENEUVE | 文森·漆 (b.1977)Untitled (details) | 无题 (局部)
Chinese lacquer, water buffalo skin, sheep skin, rice bag fabric, bronze powder, iron powder对大漆历史和与漆相关的传统手工艺的长期研究对文森·漆的创作具有重要的推动作用，使其逐步打破漆画与漆器等传统概念的束缚，创作出属于自己的“抽象图腾”。凉山彝族传承数千年的漆文化是文森近两年的调研重心。漆器渗透于彝族社会生活的各个领域，其中最打动艺术家的是古代彝族的皮铠甲，以此为灵感的新作是本次展览的重点作品之一。除了彝族的漆文化，此次展出的部分作品还运用了中国传统漆器著名的蛋壳镶嵌和螺钿工艺，以及东南亚漆器盛行的藤与竹的盘绕、编织工艺。这些工艺的多样性与可塑性为艺术家提供了丰富的视觉素材，而世代传承的情结为它们注入了丰厚的记忆和情感。通过将材料的独特质感和工艺的人文属性融入自身的创作语汇，文森·漆不断尝试以“物”的创造去超越“物”的表达。
Vincent CAZENEUVE | 文森·漆 (b.1977)
Chinese lacquer, woven bamboo basket, rice bag fabric, gold leaf
Vincent CAZENEUVE | 文森·漆 (b.1977)
Untitled (details) | 无题 (局部)Chinese lacquer, woven bamboo basket, rice bag fabric, gold leaf
Cazeneuve’s continuing research into the history of lacquer and its related traditional crafts has been an important catalyst for his work, enabling him to break the constraints of traditional concepts such as lacquer painting and lacquerware and create his own 'abstract totem'. Over the past two years, the millennia-old lacquer culture of the Yi people has been the focus of Cazeneuve's research. The use of lacquer penetrates all areas of Yi's social life, and what most impresses the artist is the ancient Yi leather armour. In addition to the lacquer culture of the Yi people, some of the works also make use of the well-known eggshell inlay and mother-of-pearl inlay techniques of traditional Chinese lacquer, as well as the coiling and weaving techniques of rattan and bamboo prevalent in Southeast Asian lacquer. The diversity and plasticity of these approaches provide the artist with rich visual material, while the sentiments carried forward from generation to generation create a strong bond of cultural memory. By incorporating all these aspects of craftsmanship into his creative vocabulary, Cazeneuve attempts to transcend the expression of 'object' with its creation.
Vincent CAZENEUVE | 文森·漆 (b.1977)
Chinese lacquer, woven bamboo basket, rice bag fabric, gold leaf
Vincent CAZENEUVE | 文森·漆 (b.1977)
Untitled (details) | 无题 (局部)Chinese lacquer, woven bamboo basket, rice bag fabric, gold leaf
同时，此次展览以多件大尺幅作品完成了文森·漆对其近几年创作的一次阶段性总结，其中包括一件以装饰艺术时期作品为灵感的五扇屏风，以及艺术家以米袋为漆胎创作的最大尺幅作品。米袋褶皱的肌理映衬在打磨的金箔之下，如洒满阳光的山峦，重岩叠嶂，又如海浪般极富流动性。中间衔接部分则以大漆自身的色泽变化(乳白、棕褐、漆黑三色)展现生命孕育的初始形态，诉说着自然的本源。
“山中无历日，寒尽不知年 ”，身处漆树和竹林资源丰富的大巴山给予了文森·漆别样的工作和生活状态。开门见山，看风起云涌，日升日落。他每日从家穿过漆树林到达工作室，一路静静思考，观察漆树的生长，聆听自然的声音。而林间唾手可得的竹编材料也为艺术家的创作实验提供了便利。与自己使用的材料建立情感联系，感受它们在手中的转化对其创作至关重要。
Exterior view of the artist's studio | 艺术家工作室外景
Artist playing the flute in the recording room of his studio | 艺术家在工作室的录音室内吹笛
The exhibition also offers an overview of the artist’s practice during the past few years with several large-scale works, including a five-panel folding screen inspired by the Art Deco period and the artist's largest rice-bag-fabric supported lacquer piece to date. The ruffled texture of the rice bag is reflected in the polished gold leaves, like a sunlit mountain range, rocky and yet fluid like the waves of the sea. In the centre of the work, the colour variations of the natural lacquer (creamy white, brown and black) are used to ignite the initial form of life, the origin of nature.Abundant in lacquer trees and bamboo forests, the Daba Mountains provide Cazeneuve with an otherworldly working and living environment. From his side of the mountain, the artist watches the clouds move through the mountains as the sun rises and sets. Each day, he walks from his home through the lacquer forest to his studio, contemplating, observing the growth of the lacquer trees and listening to the sounds of nature, while the bamboo weaving material immediately available in the forest also facilitates the artist's creative experiments. It is essential for Cazeneuve to build an emotional connection with the materials he uses, and to feel their transformation in his hands.
Mountain view in front of the artist's residence | 艺术家住处屋外山景
Artist’s residence (partial) | 艺术家住处（局部）
文森对漆文化潜心钻研的背后是对艺术深度和广度的追求。在他看来，一件作品无论来自哪个年代都应该获得同等的欣赏和重视——历经千年的文物，上个世纪的古董，亦或是一件当代的多媒体装置。数千年来每一代人的努力最终汇聚成整个人类文明的创造力。唯有努力创造，去学习新的技巧，克服技术和材料上的难关，才能留下足以抵抗死亡的印记。文森期待着自己的作品能与下一个千年的文明相遇。
Vincent Cazeneuve's passionate study of lacquer culture is driven by his pursuit of profoundness and eternity in art. He believes that a piece of art should be equally appreciated and valued regardless of its time - a thousand-year-old artefact, an antique from the last century, or a contemporary multimedia installation. It is the efforts of each generation that have culminated in the creativity of humanity. One can only leave a mark that is strong enough to resist death if one strives to create, to learn new techniques, to overcome technical and material difficulties. The artist looks forward to his work encountering the civilization of the next millennium.
Vincent CAZENEUVE
My Side of the Mountain
文森·漆
山中不知年
Bldg 105, 199 Hengshan Rd, Shanghai
杜梦堂(上海)此次文森·漆个展「山中不知年」的开幕酒会定于9月7日(周三)下午4时至7时举办。欢迎大家关注这次展览。
The opening reception of Vincent Cazeneuve's solo exhibition My Side of the Mountain at DUMONTEIL Shanghai is scheduled for Wednesday, September 7th from 4 pm to 7 pm. You are more than welcome to visit this exhibition.
文森·漆（1977年出生），原名Vincent Cazeneuve，是一名以大漆为主要创作媒介的法国艺术家。在法国完成学业后，他曾创立工作室专注于西方与亚洲漆器的修复工作，后于2009年移居中国重庆，一心钻研漆艺，以及与其创作相关的传统文化和手工技艺。
文森·漆用看似简约实则繁复的艺术语言对东西方文化兼容并蓄，不懈探索将其他材料融入大漆创作的可能性，如旧米袋、羊毛毡、皮革等。同时，他还尝试汲取版画、浮雕、拼贴等其他艺术形式，以及梭织、竹编等传统工艺，使其作品拥有丰富的层次和触感。文森·漆的作品曾在国内外艺术机构广泛展出，其中包括厦门红顶当代艺术中心(2022)，成都许燎源现代设计艺术博物馆(2021)，北京清华大学美术学院(2020)，云南省博物馆(2019)，四川美术学院美术馆(2019)，法国巴黎中国文化中心(2017)，法国勒韦艺术与工艺学院(Revel IMARA，2013)，上海当代艺术双年展(2010)等。同时，文森的作品已被纳入法国、意大利、瑞士、美国和中国等地的私人收藏。
Vincent Cazeneuve (b.1977) is a French artist using Chinese lacquer as his primary medium of creation. After completing his studies in France, he created a studio specializing in the restoration of Western and Asian lacquerware before moving to Chongqing, China, in 2009 to decipher the secret of lacquer and traditional culture and craftsmanship essential to his work.He gradually developed his narratives and aesthetics from both occidental and oriental influences with his deceptively simple and yet complex language while relentlessly exploring non-traditional supports such as old rice bags, wool felt, and leather. He also tries to draw on other art forms such as lithography, relief carving, collage, and traditional crafts such as rattan and bamboo weaving, lending his work rich layers and tactile feelings.Vincent Cazeneuve’s work has been widely exhibited in art institutions in China and abroad, including TCCA, Xiamen(2022), XLY MoMA, Chengdu (2021), the Academy of Arts and Design of Tsinghua University, Beijing (2020), Yunnan Provincial Museum (2019), Art Museum of Sichuan Fine Arts Institute (2019), Chinese Cultural Center, Paris, France (2017), Revel IMARA, France (2013), Shanghai Biennale of Contemporary Art ( 2010), etc. His work has also been included in private collections in France, Italy, Switzerland, the United States, and China.
VOICE OF MEDIA
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