Gradient Dystopia
雅尼·卡努西：渐变反乌托邦
2025.06.13 - 08.20
上海市衡山路199号永平里105栋
Bldg 105, 199 Hengshan Rd. Shanghai
杜梦堂 （上海） 荣幸呈现展览“渐变反乌托邦”，这是法国艺术家雅尼·卡努西（Yanis KHANNOUSSI）在中国的首次个展，展出艺术家以迷人色彩与流动形态创作的最新雕塑作品。展览通过艺术家融合了观念、空间及工业材料与技术的独特造型表达，探讨了存在与缺失、无限与易逝之间的辩证关系。DUMONTEIL is delighted to present Gradient Dystopia, the first solo exhibition of French artist Yanis Khannoussi in China. Featuring his latest sculptural creations in mesmerising hues and seamless forms, the exhibition explores the interplay between the present and the absent, the infinite and the elusive, with the artist’s materials and technique that combines the conceptual, the spatial, and the industrial.雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996)
缺失的星辰：De Sideris 1-5 |The Missing Star - De Sideris 1-5
树脂喷漆 Paint and varnish on resin
展览以标题“渐变反乌托邦”拉开帷幕，奠定了自身基调：“无限”与“永恒”注定难以企及。而渐变，作为一种无尽过渡的形式象征，也仅存在于想象的领域。时间的长河中，人类见证着无可辩驳的真理：无常定律——它注定了生命和物体不可避免地从我们生活的有形世界中消逝。随后，一种渴望应运而生，以回应这种“终结”的体验：我们该如何呈现那些已然不复存在的事物——虚无、缺失与匮乏？这正是时间的经验及其无情真理的必然结果。The exhibition begins with its title, Gradient Dystopia, which establishes the conceptual foundation: the assertion that infinity remains perpetually unattainable. The gradient, as a formal emblem of endless transition, exists solely within the realm of the imaginary. Through the passage of time, humanity bears witness to an absolute truth—the law of inconstancy—which inexorably causes beings and objects to vanish from the tangible world we inhabit. A desire then arises in response to this experience of “the end”: how can we represent what no longer exists—the void, the absence, the lack? This is the result of an empiricism of time and its implacable truth.
雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996)沧海一粟 2 | A Drop of an Endless World 2
树脂喷漆 Paint and varnish on resin“渐变反乌托邦”是艺术家对其父亲的致敬，他已然离去，永远地，前往一个未知的彼岸。这个“彼岸”是时间不复存在之地，进而可被视作一个形而上学的乌托邦，在其本质中，完美再次成为可能。而没有什么比绝对球体的呈现更加完美了，这是一个常被人类幻想，却从未真正实现的物体。Gradient Dystopia serves as a tribute to the artist’s father, who has departed to an unknown elsewhere. Forever. This elsewhere, is a place where time no longer exists, and thus, the utopia of a metaphysical world where the perfect once again becomes possible by its very essence. And nothing is more ideal than the representation of the absolute sphere, an object so often fantasised by humans but never intrinsically realised.尼·卡努西 | Yanis KHANNOUSSI (b. 1996) 缺失的星辰：致我的父亲 | Missing Star - To my father 树脂喷漆 Paint and varnish on resin因此，《缺失的星辰——致我的父亲》这件作品凝聚了人类超越有限性的渴望。通过它的核心——即中心那颗缺失的星辰所代表的完美球体，这件作品告诉我们：尽管充满消逝与别离，虚无始终深邃而可感，令人叹服，在任何时刻、任何方面都不例外。因为我们在这里所讨论的，正是如何呈现一个已经消逝的存在，一个通过其负空间而显现的体量。Thus, this work, The Missing Star - to my father, encapsulates all the richness of humanity’s desire to transcend its finitude. Through its sphere—its missing star in the center—this piece shows us that, despite the absence and the departure, the void remains deeply tangible and admirable in every way and at every moment. For all we are talking about here is the representation of a vanished presence, a volume revealed through its negative.雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996) 沧海一粟 6 | A Drop of an Endless World 6
树脂喷漆 Paint and varnish on resin然而，从我们凡人的视角凝视这颗失落的星辰，我们所看到的并非球体本身，而是它的印记，化形为一个椭圆。而这只是我们根据自身世界和经验，将理想形态的偏离具象化了。椭圆因此成为物质世界理解万物的媒介。它代表了围绕《缺失的星辰》展出的若干作品的形态本体，无论是直观的呈现、通过扭曲的异化，或是在其核心的切割，椭圆弥合了有限世界与形而上学世界的鸿沟。在那里，我们的时间法则不再适用，一切重获可能。
And yet, gazing at this lost star from our mortal vantage point, our perspective does not reveal a sphere but rather its imprint, transformed into an ellipse. This is merely a deviation of that form, made tangible by our world and our experience. It is therefore through the ellipse that everything becomes comprehensible to the eyes of the physical world. It represents the starting form for some of the works presented around the missing star. Whether it is presented literally, or alienated by twisting, or cut at its centre, it allows us to bridge the gap between a finite world and a metaphysical one, where the laws of our time no longer apply. Where everything becomes possible again.
雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996)
Gradient Dystopia - The truth is in the scratches
渐变反乌托邦：真相隐于痕
雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996)
Gradient Dystopia - the Water Won’t Hide the Soul
渐变反乌托邦：水藏不住灵魂
雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996)
Gradient Dystopia - the Star is Rising Anyway
渐变反乌托邦：星辰照常升起
雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996)
Gradient Dystopia - Lucky you to be alive
渐变反乌托邦：生之幸
雅尼·卡努西 | Yanis KHANNOUSSI (b. 1996)
Gradient Dystopia - Low light and still life
渐变反乌托邦：微光与静物
树脂喷漆 Paint and varnish on resin
Image ?雅尼·卡努西 Yanis KHANNOUSSI
雅尼·卡努西的艺术实践是色彩、形式、材料与空间的生动融合，源自其对工业图像的技术和材料的浓厚兴趣。艺术家通过模压树脂使创作脱离墙面，让色彩成为探索形式与反形式相互作用的活跃主体；反光的表面处理使作品与环境互融，从而改变观者对现实的感知。通过使用喷枪和其他去个性化手段，卡努西试图消除创作者的个人印记及其裹挟的文化包袱，营造纯粹的、冥想式的色彩与形式体验，进而通往无限形而上的领域。
雅尼·卡努西（Yanis KHANNOUSSI，1996年出生于巴黎）于2021年获得巴黎国立高等美术学院硕士学位（DNSAP）。现居巴黎，自2018年起担任巴黎美院复合材料工作坊的导师，同时在别具一格的工业化工作室中展开其创作。艺术家在巴黎和上海举办了广受好评的个展，曾于2022年荣获Réalités Nouvelles沙龙L’Officiel des Galeries & Musées新锐艺术家奖，并入围包括Prix Sisley（2023年）和Prix Panthéon-Sorbonne（2022年）在内的新锐艺术家奖项。Yanis Khannoussi’s practice is a vibrant synthesis of color, form, material, and space, driven by his keen interest in the techniques and materials of industrial iconography. Using molded resin supports to detach paintings from walls, the artist transforms color into an active subject that explores the interplay between form and anti-form, while his reflective surface treatments engage with the environment and create altered perceptions of reality. By employing pneumatic spray guns and other impersonal techniques, Khannoussi neutralizes personal gestures and their cultural baggage to foster pure, contemplative experiences of color and form that open onto an infinite, metaphysical realm.Yanis Khannoussi (b. 1996, Paris) earned his master’s degree (DNSAP) from the école Nationale Supérieure des Beaux-Arts de Paris in 2021. Based in Paris, he has served as an instructor in the composite materials workshop at Beaux-Arts since 2018 and works in an industrial-like studio where he develops his unique approach. He has held acclaimed solo exhibitions in Paris and Shanghai, received the New Talent Award fromL’Officiel des Galeries & Musées at the Réalités Nouvelles Salon (2022), and was shortlisted for emerging artist awards including the Prix Sisley (2023) and Prix Panthéon-Sorbonne (2022).杜梦堂DUMONTEIL微信客服号
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