2019.03.22

桑德罗·奥兰迪·斯塔格尔撰文 | “银河,世界之始” Sandro Orlandi Stagl | the Milky Way-the origin of the World

桑德罗·奥兰迪·斯塔格尔: 意大利资深策展人,人文主义学者,建筑师。
Sandro Orlandi Stagl: Italian senior curator, humanist scholar, architect.
桑德罗·奥兰迪·斯塔格尔: 意大利资深策展人,人文主义学者,建筑师。
Sandro Orlandi Stagl: Italian senior curator, humanist scholar, architect.

乔治·庞⻉在文艺复兴大师丁托列托诞⽣500周年之际,于颇具名声的北京在3画廊举办《变奏—1552丁托列托—乔治·R·庞贝个展》,这不仅是一场来自中国文化语境对这位威尼斯艺术大师的诚挚敬意,同时也是对乔治·R·庞贝—来自加泰罗尼亚的艺术家目前艺术生涯作品的重新解读和思考。
这位来自加泰罗尼亚的艺术家,创造了极富个⼈色彩别具一格的艺术诗篇。在对丁托列托的作品再创作的同时,试图带入当代视角和观点来演奏出一场奇妙的变奏曲。通过对艺术杰作的模仿与延伸,传统的油彩配合特殊的溶液,佐以艺术家巧妙的手法,打破了传统的美学概念,在这些细腻入微的油彩变化中,色彩溶解,消退,带来了强有⼒如音乐般的视觉表达。
在画廊的现场创作中,庞贝在⽂艺复兴大师丁托列托众多杰出作品中选择《银河起源》进⾏重新表达,是极具深刻意义的,原作⽬前保存在伦敦的英国国家美术馆。画中描绘了希腊神话中银河诞⽣的故事,宙斯在赫拉熟睡之时把⾃己与凡⼈公主的私⽣子赫拉克勒斯放在她身边吸⻝乳汁,因为吮吸过猛,惊醒了赫拉,赫拉发现吃奶的不是⾃己的孩⼦,便用⼒推开,由于⽤力过猛,赫拉的乳汁直喷上天,变成了了银河,⽽落在地上的变成了百合花,于是古希腊⼈也称银河为the Milky Way(奶路)。画面中还出现了一些⼩小天使和⼀些动物与主体人物辉映,带着闪电的⽼鹰是宙斯的象征,⽽孔雀则是赫拉的圣⻦。
丁托列托的作品是关于母性永恒价值的表达,通过严肃的布局,和充满活⼒的人物塑造,以及丰富和谐的⾊彩加强了主题的表达。⽽庞⻉试图通过将丁托列托和⾃身进⾏一个批判性的并置。然后在过去与现在的时空交错中产生共鸣,以探索新的价值与观点。
关于在创作中的减法和元素的抽离,是庞⻉最为熟练的技巧。这不是在美学概念中艰难抉择,而是对于艺术家思想的深刻表达,对于古典形式的破坏和解构,在完整性上暂时是一种损失,但是这种分崩离析的过程将我们带回到理性与感性双层次的满⾜中,这便上升到⼀种形⽽上的探索之中。庞⻉祛除了传统的⽼旧元素,然后把每个⼈都带回到了同样的起点,一个纯净没有世俗标准的超越了审美表达的地方。不管在何时何地,万物都具有了一致性,无论贫富贵贱,无论绿肥红瘦,我们都来⾃同一个地方。
同样的观点,在庞贝的具体创作风格中,体现地更为深刻。⽤独特的笔触清洗掉作品的本身内涵后,抛弃了颜⾊的独立性,也便意味着同时抛弃了故事主题。庞⻉让⾊彩交融的同时,也进⾏了这⼀场灵魂的编织。丁托列托亦是如此,虽然在他的作品中,元素都是清晰可辨的具象,但是⾊彩以及构图都在所有的事物中分布地完美⽽平衡,在这幅杰作中,没有明显的等级划分,不同的社会阶层被安置在了同一片美丽的天空下。
归根结底,两位艺术家最为明显的共同点,便是他们对于创造的热情,创造⼒便是万物之母。对于艺术的炽热之情,使庞⻉与丁托列托建⽴起了坚固⽽密切的联系。同时也是本次展览的关键词。

 

The exhibition "Jorge R.Pombo" - "Variations on a 1552 Tintoretto" in Beijing at the prestigious Gallery Being 3, wants to be a key event not only to pay tribute from the Chinese culture to Jacopo Tintoretto, on the occasion of the celebrations of the 500 years after the birth of the great Venetian painter, but also to reread critical and above all current his works and this through the involvement of the painter, of Spanish origin, Jorge Pombo, who had the privilege of being invited to this tribute. The Catalan painter, in fact, has created his own personal and particular poetics starting from the works of Tintoretto, revisiting them with contemporary eyes and creating his original "variations". His works start from the integral reproduction of the masterpieces of the Venetian, the classic oils on canvas but that, through the use of particular solvents, go to modify their initial aesthetics, creating nuances and fades; the optical impact is strong and confusing, in perfect assonance with the topics that are treated. 
Tintoretto's work "The origin of the Milky Way" chosen by Pombo for the live reinterpretation is one of the most significant and among the most admired works by the Venetian artist, the original is kept at the National Gallery in London. The painting portrays the birth of the Milky Way according to Greek mythology. The myth tells that Zeus, taking advantage of the sleep of his wife Hera, attacked the child Heracles, who had been with the mortal Alcmena, because only by sucking from the mother's chest of the gods, the demigod could have obtained immortality. The child grabbed a breast of the goddess with too much force and awoke it, making part of the milk splash towards the sky, thus creating the Milky Way, while the drops that fell to the ground gave birth to lilies. The canvas is enriched by the presence of some cupids and the two animal symbols of the divine spouses, the eagle with the lightning, symbol of Zeus, and two peacocks, the sacred bird to Hera. 
The eternal value of motherhood, expressed with solemnity and dynamism, and represented with a strong chromatic accent, are the themes that enhance this masterpiece and that, in Pombo's intentions, through a critical juxtaposition between the original work of the Venetian artist and the current of the Catalan artist, they are charged, in the comparison between past and present, of new values and new perspectives.
The work of subtraction and stripping, a technique favored and refined by Pombo, is not anaesthetic choice and a taste, but wants to express messages and deep values; the cancellation of the classical figuration is a process that destabilizes, which apparently causes the coordinates to lose, but which immediately brings us back to the intellectual and psychological level towards contents and aspects that are not apparent; a deeply interior work. The masks that in everyday life are worn, come from Pombo here removed, deleted and faded; in this way, far from artifacts, it puts everyone on the same level, without judgment, beyond the aesthetic representation. We are, in fact, all the same, stripped of our pseudo-identity. Rich and poor, powerful and weak, masters and servants, all fruit of the same genesis.
The same concept is strengthened by the stylistic choice of Pombo that makes the nuance and the washing of its particular connotation; removing exclusive identity to color means removing filters and fictions. Pombo does not only realize a chromatic osmosis but also an osmosis of souls. Tintoretto worked in the same way. Although in his works the figuration was clear and recognizable(could not be otherwise), the use of color, dispensed in equal measure to all his characters, was to take away positions of privilege and put on principle all on the same level. It is not by chance that in his masterpieces he does not make distinctions of rank; on the same representative level the most different social strata are found.
In the final analysis, what is most evident and which both these great interpreters have in common is their passion for "creation", mother and generator of everything; passion that they put in their artistic make and that, besides to unite them in solid way, it constitutes also the key word of this exhibition.