胶囊｜鲁迪·克雷莫尼尼：日落后四分钟

鲁迪·克雷莫尼尼：日落后四分钟 Rudy Cremonini: Four Minutes After Sunset???????

展期 Dates: 2025.02.22 - 04.19???????

开幕 Opening: 2025.02.22 15:00 - 18:00

地址 Address: 胶囊上海，上海徐汇区安福路275弄16号1层

Capsule Shanghai, 1st Floor, Building 16, Anfu Lu 275 Nong, Xuhui District, Shanghai, China

胶囊荣幸呈现艺术家鲁迪·克雷莫尼尼（1981年生于意大利博洛尼亚，现居博洛尼亚）在画廊的第二次个展“日落后四分钟”，展出他最新创作的绘画以及首次问世的陶瓷雕塑作品。展览将于2025年2月22日至4月19日于胶囊展出。

为了进一步诠释这一主题，在本次个展中，艺术家基于颜色，将作品安排到四个展厅当中。“在日落时分，我的感觉会突然发生变化，四分钟后，我就会陷入忧郁之中，而用不同颜色来划分展厅，就是为了探索这种变化——了解我最喜欢哪种环境，了解在这四分钟里我是谁。”通过这样的安排，艺术家也将探索的权利与观者分享：后者踏入的既是每一个展厅，同样也是日落后的每一分钟——所谓“时间恒常性”（time constancy），经由艺术家对主题的强调得以呈现。

我们不难看出，是主题——对象与材料——决定了克雷莫尼尼的创作。“我不想让人注意到我画的画面和内容，并不是因为我认为它们没有内在价值或意义，而是我想专注于绘画本身——是怎么做，而不是做什么。”观者很容易通过克雷莫尼尼的创作理解他的执拗：他所描绘的对象、选取的色调总是暧昧的、扭曲的，似乎几近刻意地暴露自己的脆弱与迷惘；然而若是重新审视整个主题，一切又变得无比确定，“有边的地方就可能有线，有横的地方就可能有竖的地方。哪里有边界，哪里就有内外”。关键在于，克雷莫尼尼放弃了先验的主题，以此换取与对象和材料对话的机会。于是他笔下的一切首先是诚实的：既脆弱又坚实，既迷惘又笃定，既随波逐流又不肯自我放逐——亦如人类个体在日常中的面貌。

如中国古谚“水无常形”，水既无常又恒常的存在状态令人着迷；正是这一点，令它成为克雷莫尼尼的标志性元素。在本次个展呈现的作品中，克雷莫尼尼延续了他对于“水”的偏爱：他笔下的城市似乎总在下雨，派对、假期或迷失总与游泳池及开放水域相关。“泳池和泳池中的倒影，即使在现实中也已经是一种自发绘画的形式。”于是经由水，克雷莫尼尼得以极大限度地拓展自己经由对话建立的日常主题——看似周而复始、理所当然的安逸无趣，却隐含着惊奇与黑暗，恰似水所象征的流动、滋养与母性庇护。“在我的作品中，保护常常变成压迫，生存常常变成控制，水常常变成泥浆。”

Rudy Cremonini 鲁迪·克雷莫尼尼 | Loosing the ground under one's feet 松动脚下的地面 | 2024 | oil on linen 亚麻布上油画 | 160 x 200 cm

克雷莫尼尼相信对象与材料，于是他乐见变化自行发生。在这次个展中，他还带来了三件陶瓷雕塑作品——这是艺术家第一次公开展出自己的雕塑创作——作为绘画作品的延伸。“这种材料能让我在雕塑中表达与绘画相同的东西”，艺术家机敏地捕捉到陶瓷与颜料共同承载的液体效果，从而让自己最经典的元素得到进一步发挥：当黑水中的孩子、沙发上的男女以立体形式出现在观者眼前，安宁与黑暗、脆弱与无为的主题变得更为直观，却又更显自然。这样一种“自发绘画/造型”理念，很容易让人想到百年前由超现实主义者提出的“自动书写”（écriture automatique）。然而克雷莫尼尼其实站在布勒东等人的对立面——后者希望人们从自己的思想中听写，但克雷莫尼尼却建议人们不要去听自己内心的声音，“我不想计划这种变化，我想让事情自己出现。我认为这种态度会带来更大的真实性。”日常以其秩序的合法性驱逐真实，唯寻求真实之人方能享有自由。

实际上，并不存在真正自由、自发的创作——这是克雷莫尼尼面对的基本悖论，却也指引他确认了自己的野心。就算回避了计划——素描草稿（drawing）的干燥乏味，他也依然需要线条来确定边界与界限，从而确保颜色、事物、背景乃至于主题存在的合法性。关键在于，他与他所构建的边界始终保持着对话，确认彼此的私人关系，如此方才确保边界始终是湿润的、柔软的、可呼吸的。尽管由此带来的不确定性使得画面几乎摇摇欲坠，但其间的沉郁并不引向沉溺。可呼吸的边界满足了主题生长的需求，观者亦能在意义模棱两可之处瞥见自由。这种可呼吸性的极限指向真空，而克雷莫尼尼最终试图勾勒的，或许正是完美的真空。

撰文：王扬

Capsule is honored to present artist Rudy Cremonini’s (b. Bologna, Italy in 1981; lives and works in Bologna) second solo exhibition at the gallery, Four Minutes After Sunset, featuring the artist’s most recent paintings alongside ceramic sculptures, which will be unveiled for the first time. The exhibition will be on view at Capsule from February 22 to April 19, 2025.

Cremonini’s painting evokes the ancient Greek notion of "Kairos"—the right timing. When boundaries blur, miracles descend; not unlike Carl Jung’s concept of "metamorphosis of the gods." The exhibition title, Four Minutes After Sunset, echoes this idea: at the threshold between day and night, at the intersection of light and shadow, time—weathered by the mundane—once again shimmers in dreamlike hues. This is the subject that Cremonini attempts to capture.

To explore this subject, the artist organizes the works into four gallery rooms based on color. "At sunset, my feelings suddenly change, and four minutes later, I fall into a kind of melancholia. Dividing the galleries with different colors is meant to explore this change—to understand which environment I prefer, and to understand who I am in those four minutes." Through this arrangement, the artist invites the viewers to join him in the exploration: as they progress through each room, they are also experiencing each minute after sunset. "Time constancy" is thus punctuated.

The subject—the medium and material—is crucial to understanding the artist’s practice. "I don’t want people to focus on the images, on what I paint. It’s not because they lack intrinsic value or meaning, but rather because I want to concentrate on painting itself—on how to paint rather than what to paint." This tenet is evident in his work: his subjects and color palettes are consistently distorted and ambiguous, as if he is knowingly exposing vulnerability and bewilderment. And yet, when viewed in the context of the overarching subject, everything gains clarity: "Where there is an edge, there could be a line; where there is a horizontal, there could be a vertical. Wherever there is a border, there is an inside and an outside." Cremonini renounces a priori themes in exchange for the prospect of a dialogue with his subjects and materials. Therefore, everything in his painting is first and foremost honest, simultaneously fragile and solid, lost and assured, adrift yet rejecting exile—a reflection of the human individual’s everyday existence.

Rudy Cremonini 鲁迪·克雷莫尼尼 | Hawaii 夏威夷 | 2023 | oil on linen 亚麻布上油画 | 50 x 45 cm

Cremonini has established a trust in his subjects and materials, and therefore welcomes transformation to unfold on its own. The exhibition, showcasing three ceramic sculptures, marks the debut of the expansion of his painting practice. "This matter allows me to express in sculpture the same things I express in painting." The artist acutely captures the fluidity shared by clay and paint to portray his iconic elements. When the child in the black water and the men and women on the sofa come alive in three-dimensional form, the themes of tranquility and darkness, fragility and inertia become notably intuitive. His "spontaneous painting/sculpting" recalls the practice of "automatic writing" (écriture automatique) of the Surrealists a century ago. However, in some ways, Cremonini stands in opposition to Breton and his contemporaries. While the latter sought to transcribe the subconscious, Cremonini chooses not to listen to the inner voices. "I don’t want to plan this evolution. I want to let things emerge on their own. I think this approach leads to greater authenticity." The everyday, with its legitimacy of order, expels truth; yet, only in the search for truth does freedom emerge.

In reality, the notion of a truly free or spontaneous artistic process is an illusion. This fundamental paradox is what the artist wrestles with, yet it also inspires ambition. Even though he shuns planning (in this case, drawing) for its predictability, the painter relies on lines to define borders, laying the foundation for the legitimacy of color, form, background, and subject. The key is that he is in constant dialogue with the borders he frames, maintaining an intimate relationship, so that they remain porous, soft, and breathable. Though this inherent uncertainty renders his compositions seemingly precarious, their somber tone never collapses into submergence. A breathable boundary allows the subjects to grow, situating the viewers in an openness that derives from ambiguity. This permeability leads to a void. What the artist ultimately seeks to outline, perhaps, is the perfect void.

Rudy Cremonini 鲁迪·克雷莫尼尼 | Stories 故事 | 2024 | oil on linen 亚麻布上油画 | 45 x 40 cm

The "perfect void" is not just the presentation; it is an inspiration, a summons. If we adopt a classical interpretation of art as the distillation of clarity and perfection from the everyday, Cremonini’s practice rejects this function of art. Indeterminacy and absence take precedence in his work. After all, the purity of his subjects can only be conveyed through ambiguity. Our contemporary culture promises (yet never fulfills) a genuine connection between nature and society. This responsibility consequently falls partially on the artworks. Parting from public boundaries and esthetic refinement, Cremonini, through his fluid brushwork, in turn dedicates himself to ensuring the unhindered growth of his subjects, which paradoxically reflects fragments of our own experience—fragments that we have long been disconnected from due to public culture’s demand for clarity and coherence. It is precisely these fragments that are our token to reclaim wonders.

Text by Kevin Wang

场外展览

Off-Site Exhibition??

庇护：卢卡·坎佩斯特里和亚历山德罗·泰尔迪????

Shelters: Luca Campestri, Alessandro Teoldi

SOF:ART

意大利博洛尼亚???

Bologna, Italy?

将展出至2025年3月14日

Until March 14, 2025?

展览现场，庇护：卢卡·坎佩斯特里和亚历山德罗·泰尔迪，SOF:ART，意大利博洛尼亚

Installation View, Shelters: Luca Campestri, Alessandro Teoldi, SOF: ART, Bologna, Italy