BP艺术家动态｜Johannes Bosisio 伦敦个展展评
Unit 10, Vanguard Court,Camberwell, London, SE5 8QT
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约翰内斯·博西西奥 Johannes Bosisio
闪光灯
In the Flash, 2022
37 x 29.5 x 3 cm
板上油漆，闪粉和胶水 铁框
Oil, glitter and glue on panel in steel frame
约翰内斯·博西西奥 Johannes Bosisio
微型 系列
Micro Series, 2022
41.5 x 33.5 cm
布面油漆和丙烯
Oil and acrylic paste on linen
This object closeness continues in Bosisioʼs Microseries, as ambiguous forms are imbued with a sense of hedonism. There is a sense of fascination, even scientific obsession, as obscured surfaces - presumably details of larger articles - glisten against dark and starry backdrops and solid surfaces seem in places smattered with fluids and motion. As if each painting were a microscope slide, there is an active sense of Bosisio as an artist crafting focus on what excites him. Isolated from their greater form, this series presents itself as a collection of kinks; a visual infatuation with the anatomies of things.
约翰内斯·博西西奥 Johannes Bosisio
90 x 67 cm
布面油画，丙烯，闪粉和沙
Oil, acrylic, glitter and sand on canvas
In the Shapeshier series, exposed again to vivid and energised surfaces, we are simultaneously confronted by the question of whether the objects themselves are shapeshiing, or whether, in fact it is our relationship to the material that is transformed via their presentation. Encapsulating dualities such as the human and the manmade, thereʼs an implicit tension between the objects themselves and our relationships to them. In this way, Bosisio goes further than to manipulate perspectives of form; he metamorphosizes our essential connection to the seemingly inanimate. By doing so, he forms a fetishized ménage à trois between the artist, the machine and the viewer, thus relegating the distinction between subject and object as benign and bridging the gap between both man and machine, and artist and viewer via a perverse triangulation.
Just as Bosisio performs biopsies on physical materials, we are also able to anatomize our own looking relation. In both Flaeneur and Voyeur, we are subjected to interrogate our own gaze, as both works portray images in which the eyes of the objects - this time more human-like in form - both stare at or analyse us whilst also being obfuscated from clear view. As viewers, we are forced into power dynamic dripping in contradiction, in which we subjugate whilst being objectified. By denying the establishment of eye-to-eye connection, we become jarringly aware of how we ourselves are simply physical in form and can be visually devoured.
"Souls from Objects from Souls from Objects From Souls"展览现场 | Exhibition View
The title of Bosisioʼs exhibition, Souls from Objects from Souls from Objects From Souls, speaks tenderly to the ontological strain between the material and immaterial. Object in a Fossilised State encapsulates this powerfully, even violently; a sculptural piece composed of jagged mirror, mounted to be affronting, it disrupts and disperses our ability to discern between the view of the object and a view of ourselves. Within its reflective, animalistic form, we see vignettes of man, just as Bosisio captures vignettes of objects in Microseries; reciprocating the physical encounter between us and them.
约翰内斯·博西西奥 Johannes Bosisio
200 x 137 cm
布面油画和闪粉
Oil and glitter on canvas
更多展览现场
关于艺术家
About Artist
Johannes Bosisio
约翰内斯·博西西奥1994年出生于意大利卡瓦莱塞，他的创作关注社会中潜在的赛博格，作为一种分离了人类特征的尖端科技，赛博格不仅是人类的机械版本，更是对人类极限的动态超越。博西西奥的绘画试图探索人与机器的关系及其超越二元论的可能：挑战传统意义上形态与基底、身体与心灵、物质与非物质、有机体与无机体、生物与机器的分离。博西西奥以二元形式的融合创造合成体。
艺术家将汽车视为联系人类、技术、文化、政治和经济的寓言。在博西西奥的创作中，钢和铬合金具有完美的顺滑和光泽质感，最充分地体现了我们的现代性，然而与此同时，表面却布满裂缝和划痕——它们看起来像在可怕的事故中遭受变形和损坏，就像J.巴拉德的《撞车》场景中被撞毁的车。“变身者”（Shapeshifter）系列是对光滑和镜像金属表面既亲密又颇具色情意味的感知，暗示着金属表面和恋物癖之间的相似之处，以及它们可以有多令人痴迷。
Johannes Bosisio (b.1994, Cavalese, Italy) is interested in potential Cyborgs in our society, as a sophisticated technology that detachedfrom human qualities, it is not only a mechanical version of the human being but a dynamic transgression ofhuman boundaries. In Johannes Bosisio's paintings, he is trying to explore the relationships between mankindand machine and the transgressions of dualism such as the separation of figure and ground, body and mind,material and immaterial, organic and inorganic, animals and machines. He fused binary forms in order to createhybrids.
The artist sees the automobile as an allegory for the connections between mankind, technology, culture, politicsand economics. In Bosisio’s work, steel and chrome are materials with a perfect smooth and shiny texture thatembody our modernity to the fullest, the surfaces, however, show cracks and scratches. They look as if they havebeen deformed and destroyed in a dreadful accident like the smashed cars in J.Ballard's setting of Crashed. Theseries Shapeshifter is about an intimate and at the same time erotic perception of smooth and mirrored metalsurfaces, indicating the parallels between metal surfaces and fetish, and how obsessive they can be.
教育：
2020–2022 绘画硕士，伦敦皇家艺术与设计学院
2014–2019 绘画学士，柏林白湖艺术学院
个展：
2022 灵魂来自物体来自灵魂来自物体来自灵魂（Zerui 画廊，伦敦，英国）
2022 锋利 合成 粉碎（Doris Gehtta画廊，奥蒂塞伊，意大利）
2018 合成（Project room Cineast，柏林，德国）
部分群展：
2022 ART021（BROWNIE Project画廊，上海，中国）
2022 我的母亲是一台电脑（Indigo+Madder画廊，伦敦，英国）
裂开（Split画廊，伦敦，英国）
夏日展出（Eve Leibe画廊，伦敦，英国）
群展（104画廊，东京，日本）
2021 租赁 Vol. 1（Autohaus，卡塞尔，德国）
为响应而实践（Doris Ghetta画廊，奥蒂塞伊，意大利）
这是件好事（Judith Andrae画廊，波恩，德国）
不真实（Upfront画廊，伦敦，英国）
2019 幻觉和真实（Isabella Lanz画廊，苏黎世，瑞士）
驻地/奖学金：
2021 艺术家内部奖学金（柏林，德国）
2019 空间特别驻地计划（巴勒莫，意大利）
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