Erasmia Kadinopoulou
「Until Light Slaps」
Petrine藝廊，巴黎
展期至7月27日

Petrine藝廊坐落於時尚的巴黎第十區，將於今年十月首次亮相巴塞爾藝術展。目前，藝廊正在展出希臘藝術家Erasmia Kadinopoulou的個展。展覽的中心是一個大型木製鳥籠，觀眾可以走上前通過小孔向內窺探，不過籠內沒有雀鳥，而是一場光影的對話。鳥籠對面，兩盞燈象徵著太陽永無止境的循環運動：日升與日落。同樣的暖色調也籠罩著展覽中的其它展品：照片、一本繪有詩歌和插圖的小巧筆記本、一個飾有鳥類圖案的天鵝絨盒子。在這個靜谧、低調卻充滿活力的空間里，光成為了主角，無法觸摸卻無處不在，正像那些缺席的鳥兒。J.A

Dennis Scholl
「Neue Wunden oder Vom Beginn der Unmittelbarkeit」
Kunstverein Göttingen，德國
展期至8月11日

德國藝術家Dennis Scholl的畫作和素描作品，看起來既古典非常，又彷彿剛剛才收筆完成。他的作品描繪了各種相遇的場景：當中包括人、動物和植物，或是將一切融合，背景通常在幽暗的森林裡或清澈的溪流邊。作品的人物體現了藝術家對古希臘神話和各種各樣民間傳說的濃厚興趣。例如，在作品《Transitional Environments》（2023）中，一個性別模糊的身影有一部分被魚所吞噬，讓人聯想到傳說中德國萊茵河上用歌聲引誘船夫的女妖羅蕾萊（Lorelei）。人物從水中升起，向從橡樹葉中顯現的主人公輕輕獻上一吻。畫中呈現了大自然的原始狀態，美麗、危險和神秘交織，如同森林中手拉手嬉戲的精靈，和諧共存而非相互對立。K.C.

群展
「充滿希望的暮光之城」（Twilight is a Place of Promise）
施博爾畫廊，柏林
展期至8月24日

本次群展彙集了19位生於1895年至1996年之間的畫家創作的藝術作品。展覽的標題靈感源於哈裡特・穆倫（Harryette Mullen）的詩作《唯一的人》（The Only Ones）。參與群展的藝術家極具多元性，他們來自世界各地，有具象派也有抽象派，有的在藝術史上有重要意義，有的已經享有盛名，還有正在嶄露頭角的新興藝術家，然而他們都觸及人的內在心性、沉思與冥想以及靈性。展出作品帶著一種微妙而挑釁的感情，亮點包括已故黎巴嫩藝術家雨格特．卡蘭德（Huguette Caland）的作品，埃塞俄比亞藝術家Merikokeb Berhanu色彩豐富的作品，以及常駐柏林的美國藝術家Monilola Olayemi Ilupeju在皮革上繪製的動人肖像。K.B.

The literary review Souffles (1966-1972) was the perfect platform for this collaboration. It was Melehi who designed the cover and layout of the first issue: Under the square bearing the journal’s title in calligraphy (which required real concentration to decipher), there was a black sun surrounded by small particles. In hindsight, and without wanting to boast, I can say that that artwork was, and will remain, truly revolutionary. Personally, it gave me a sense of Melehi’s extraordinary talent and of what his work was to become: a gigantic undertaking aimed at forcing the space of the canvas to accommodate every nuance of light, from its birth to its disappearance, to let the waves of the river of time and the ocean of love flow peacefully by.

Confronted with this striking use of space, the discerning viewer realizes that the artist does not stop at the canvas. He transposes it, pulling it out beyond the frame to join other areas of the imagination and thought. With Melehi, the canvas never loses a scintilla of the colors he offers it – in fact, it asks for more, knowing that with him there is never an excess. And then, when we take a few steps back, another dimension of the canvas reveals itself to us: Sculptures emerge from the very heart of the ‘flat’ colors, surging forth into the space they have created. This is why I dare to adapt a well-known saying: with Melehi, you never see the same painting twice!

Today, we can celebrate the international recognition his work has garnered. But the important point for me in deciding to write this modest account has been to relate some of the historical, political, social, and cultural constraints under which this work came about and evolved. It was perhaps these very restrictions that enabled such an unprecedented creative adventure to see the light of day within an historical context and a state of society that were not particularly favorable to it.

Mohamed Melehi was one of those pioneers, a trailblazer, a visionary, who enabled many of us to become, in the words of the Algerian poet Jean Sénac, ‘citizens of beauty.’

Abdellatif Laâbi, Créteil 2024