間 (jiān) -

Dan Flavin, the nominal three (to William of Ockham), 1963, daylight fluorescent light, dimensions variable, edition of 3 © 2016 Stephen Flavin/Artists Rights Society (ARS), New York

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Opening reception: Friday, 25th November, from 6:00 to 8:00pm


Gagosian Hong Kong is pleased to present “間 (jiān),” a group exhibition of Minimalist works selected in response to Dan Flavin’s the nominal three (to William of Ockham) (1963).

間 is a composite of the Chinese characters for sun and door, evoking a sliver of light between two pillars. It can be translated as interval, gap, space, or pause. This image-moment taps into the phenomenological aims of Minimalism, which used simplified forms to communicate the primacy of intellect and bodily awareness over artistic content.

Emerging from De Stijl, Constructivism, and Suprematism, as well as American mass production, Minimalism locates the content of an artwork in the viewer, rather than in the object. Artists such as Dan Flavin, Donald Judd, and Walter De Maria, all included in this exhibition, pursued a pure objecthood informed by existentialist philosophy and theories of being and nonbeing.

In the early 1960s, Flavin’s interest in elementary forms and industrial materials led him to develop site-specific arrangements of commercial fluorescent lights. Circumventing the limits of the gallery, he used the standard lengths of the tube lights to set up nonhierarchical interrelationships, blurring distinctions between the aesthetics of art and industry. the nominal three (to William of Ockham) (1963) is made up of six identical lights, three subsets positioned in a numeric sequence across a single wall. Displayed as parallel vertical beacons, the lights can be read from left to right: one light, then two, then three, exemplifying Flavin’s calculated awareness of the empirical realities of rooms.

De Maria took his calculations to the floor (as well as the land, in his earth works). His sculptures use mathematic permutations to produce sublime repetitions of basic geometric components. 14-Sided Open Polygon (1984) is a stainless steel channel containing a steel ball. Looking down upon this shiny tetradecagon, one imagines the ball rolling infinitely along the interior angles.

Often, Minimalism examines the realm between painting and sculpture. Judd, for example, became dissatisfied with painting in the late 1950s because he wished to present objects as themselves, rather than as representations on a surface. He sought to get rid of everything except for order, to reveal a self-defining structural logic in all forms. Untitled (88–28 A/B) (1984) is comprised of two rectangular units, aluminum boxes with blue Plexiglas panels, protruding from the wall. Instead of drawing attention to the qualitative realities of the space, as Flavin does, Judd brings awareness to the physical relation between object and viewer.

Minimalism requests that the viewer stand before steel, Plexiglas, and light and confront his or her own awareness. To hear the buzz of Flavin’s lights, see one’s distorted reflection in De Maria’s steel, and experience the surface tension of Judd’s boxes is to address one of life’s most elusive questions: our very existence.

Dan Flavin was born in Jamaica, NY in 1933 and died in Riverhead, NY in 1996. Major retrospectives of his work have been organized by the National Gallery of Canada in Ottawa (1969), St. Louis Art Museum (1973), Kunsthalle Basel (1975), Museum of Contemporary Art in Los Angeles (1989), Deutsche Guggenheim, Berlin (1999), and Dia Foundation for the Arts (traveled, 2004–07). The Dan Flavin Art Institute was established in 1983 in Bridgehampton, New York.

Donald Judd was born in Excelsior Springs, Missouri in 1928 and died in New York City in 1994. He founded the Chinati Foundation in Marfa, Texas in 1986. Major exhibitions of Judd’s work include the Whitney Museum of American Art, New York (1968, 1988); National Gallery of Canada, Ottawa (1975); Stedelijk Van Abbemuseum, Eindhoven, The Netherlands (1987); and Tate Modern, London (2004). A major retrospective of Judd”s work is forthcoming at The Museum of Modern Art, New York.

Walter De Maria was born in Albany, CA in 1935 and died in Los Angeles, CA in 2013. Major exhibitions of his work include Fondazione Prada, Milan (1999); De Pont Foundation for Contemporary Art, The Netherlands (2005); Dia Art Foundation, New York (2010); Museum Brandhorst, Munich (2010); The Menil Collection, Houston (2011); and Los Angeles County Museum of Art, California (2012–13). Permanent or long-term installations include “The Lightening Field,” New Mexico (1977); “The New York Earth Room,” New York (1977); “The Vertical Earth Kilometer,” Kassel, Germany (1977); “The Broken Kilometer,” New York (1979); “Seen/Unseen, Known/Unknown,” Naoshima Contemporary Art Museum, Japan (2000); “Time/Timeless/No Time,” Chichu Art Museum, Japan (2004); and “Large Red Sphere,” Türkentor, Kunstareal Munich, Germany (2010).

For further information please contact the gallery at [email protected] or at +852.2151.0555. All images are subject to copyright. Gallery approval must be granted prior to reproduction.

Please join the conversation with Gagosian on Twitter (@GagosianAsia), Facebook (@GagosianGallery), Google+ (@+Gagosian), Instagram (@GagosianGallery), Tumblr (@GagosianGallery), and Artsy (@Gagosian-Gallery) via the hashtags #Jian  #WalterDeMaria  #DanFlavin  #DonaldJudd  #GagosianHongKong.

 



開幕酒會: 11月25日晚上6時至8時


香港高古軒畫廊欣然呈獻「間」聯展,展出一系列極簡主義作品,向丹‧弗萊文(Dan Flavin)的《公因數三(致奧卡姆的威廉)》(the nominal three (to William of Ockham),1963年)致敬。

「間」由「日」和「門」字組成,令人聯想到兩根柱子之間的一縷光線。「間」可解作間隔、間隙、空間或間歇,反映極簡主義的現象學目的,即利用簡化的形態來表達思維與身體感知比藝術內容更重要的觀點。極簡主義源於風格派、構成主義、至上主義及美國批量生產,藝術品的內容由觀賞者決定,而非物件本身。是次展覽將展出藝術家弗萊文、唐納德‧賈德(Donald Judd)和華特‧德‧瑪利亞(Walter De Maria)的作品,他們皆追求純粹的物性,並受存在主義哲學及「存在」與「虛無」的理論啟發。

於1960年代早期,弗萊文對基本形態和工業物料深感興趣,因而以商用熒光燈管創作專為特定場地而設的裝置。他巧妙克服畫廊的限制,利用標準長度的光管構建不分層次的相互關係,模糊藝術與工業美學之間的分野。《公因數三(致奧卡姆的威廉)》(1963年)由三組、共六支相同的光管組成,並由少至多設置在一面牆上。這些光管猶如垂直的導航燈,可從左至右詮釋:一支、兩支、三支,體現弗萊文對空間經驗現實的精確認知。

德‧瑪利亞則將地面(以及他在大地作品中使用的土地)視為計算對象,他的雕塑運用數理排列法,創造不斷重複的基本幾何元素。在《十四邊形》(14 Sided Open Polygon,1984年)中,他打造了一個不鏽鋼槽,放入鋼球,從高處望向這個閃亮的十四邊形,會發現鋼球似乎沿著多邊形的內角一直滾動,永不止息。

極簡主義經常探索繪畫與雕塑之間的領域,例如賈德於1950年代末希望打破繪畫的制約,不滿足於浮於表面的呈現,而渴望呈現物件本身。他致力擺脫一切,只剩下排序,務求展現所有形態之中自我定義的結構邏輯。《無題(88–28 A/B)》(Untitled (88–28 A/B),1984年)由兩個長方形單元組成,帶藍色樹脂玻璃板的鋁箱由牆壁伸出。賈德希望彰顯物件與觀賞者之間的物理關係,而非像弗萊文般,將焦點放在空間的定性現實之上。

極簡主義要求觀賞者站在鋼、樹脂玻璃及光線前直面自己的意識,聆聽弗萊文光管裝置的嗡嗡聲、在德‧瑪利亞的不鏽鋼裝置中觀看自己扭曲的倒影,又或感受賈德箱子的表面張力,藉此探討人生其中一個最難以捉摸的問題:我們的存在。

丹‧佛雷文1933年生於紐約牙買加區,1996年卒於紐約里弗黑德。為佛雷文舉行大型回顧展的美術館包括渥太華加拿大國立美術館(1969)、聖路易斯美術館(1973)、巴塞爾美術館(1975)、洛杉磯當代藝術博物館、柏林德國古根漢美術館(1999)及紐約迪亞藝術基金會(2004–07巡展),都曾舉辦過主要的佛雷文作品回顧展。Dan Flavin Art Institute於1983年在紐約布里奇漢普頓創立。

唐納德‧賈德1928年生於美國密蘇里州Excelsior Springs,1994年卒於紐約市。賈德於1986年在德州馬爾法創立辛那提基金會(Chinati Foundation)。多間美術館亦曾為他舉行大型作品展,包括紐約惠特尼美國藝術博物館(1968、1988)、渥太華加拿大國立美術館(1975)、荷蘭燕豪芬現代藝術博物館(1987)及倫敦泰特現代美術館(2004),而紐約現代藝術博物館亦即將舉行賈德大型回顧展。

華特‧德‧瑪利亞 1935年生於美國加州奧柏尼,2013年卒於加州洛杉磯。其主要展覽包括米蘭Prada藝術基金會(1999)、荷蘭De Pont Foundation for Contemporary Art(2005)、紐約迪亞藝術基金會(2010)、慕尼黑布蘭德霍斯特博物館(2010)、侯斯頓曼尼爾收藏館(2011)及加州洛杉磯縣立美術館(2012–13)。他的永久或長期藝術裝置包括新墨西哥《閃電的原野》(The Lightening Field)(1977)、紐約《紐約泥土室》(The New York Earth Room)(1977)、德國卡賽爾《垂直地底一公里》(The Vertical Earth Kilometer)(1977)、紐約《折斷的一公里》(The Broken Kilometer)(1979)、日本直島現代美術館《看得見/看不見,已知/未知》(Seen/Unseen, Known/Unknown)(2000)、日本地中美術館《時間/不朽/無時間》(Time/Timeless/No Time)(2004)及德國慕尼黑藝術區Türkentor《大紅球》(Large Red Sphere)(2010)

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Gagosian was established in 1980 by Larry Gagosian高古軒由拉里•高古軒(Larry Gagosian)於1980年創立