於11月3日至6日舉行的東京藝術周將邀請世界各地的訪客體驗東京充滿活力的當代藝術景況

Payal Uttam

東京藝術周為日本文化首都掀起序幕

I’ve long admired photographers/artists, such as&nbsp;<a href="https://www.artbasel.com/catalog/artist/8115/Francesca-Woodman">Francesca Woodman</a> and Mark Morrisroe, who’d write directly on their prints. Woodman would scratch words in pen and ink below her images, and Morrisroe, seemingly bored with touching up color prints, would allow his brush to stray into the margins [of his photographs], laying down dashes of color and words.&nbsp;<a href="https://www.artbasel.com/catalog/artist/8434/David-Wojnarowicz">David Wojnarowicz</a> embedded diary fragments into many of his photographic works, notably in the montaged&nbsp;‘Sex Series (for Marion Scemama)’. Hervé Guibert, a writer and a photographer, joined written comments to many of his photographs as well, and produced the book Susanne et Louise – about his aunts – accompanied by a long text in his own handwriting.

The two elements depicted are regular players in Bergman’s revolving cast of motifs, which oscillate between the terrestrial and celestial. Elsewhere we find stars, planets, horizons, open skies, boats, mountains, valleys, and caves. They are easily identified but can also readily merge into one another. At what point does a mountain peak become a raised sail? When does the open sea turn into a cave? The stele in this instance easily conjures an upright figure, but also implies the opening of a void.

The transcription is in my hand. When the conversation began, I grabbed a small notebook and quickly wrote down what I was hearing, so there are mistakes, dropped letters and words. I interjected a few observations, but mostly it was a text being delivered to me, not within my control, which is something I value, this kind of ready-made nature of the text.When my son was in his last year of high school, he took a class in black &amp; white photography, and for one of his assignments, he recreated Hervé Guibert’s Sienne (1979)&nbsp;–&nbsp;the photograph of a young man lying face down at a table, his back bathed in sunlight, the space above him shrouded in smoke. B. used his friend, Eric, as a model – the same Eric who appears in my own photographs five or six years later with his hair grown out, wearing a Supreme t-shirt.

Bergman’s work sits somewhat awkwardly alongside the drama and excesses of the gestural abstract painting so popular in the 1950s. Working with a high degree of abstraction and formal purity, she never abandoned motifs borrowed from the real world. Her art has a slowness and clarity that is far removed from Action painting’s speed and multidirectional immediacy. Rather than flinging the viewer into the flux of experience, she maintained a carefully judged distance. American artist&nbsp;<a href="https://www.artbasel.com/catalog/artist/7651/Joan-Mitchell">Joan Mitchell</a> (1925–1992), who also chose to make France her home, presented a partially anthropomorphized landscape, turning nature into a stage where our emotions can play out. Bergman on the other hand approaches it the other way round, identifying a remoteness in the natural world which suggests an emotional remoteness within ourselves.&nbsp;

Moyra Davey is a Canadian artist and writer based&nbsp;in New York. She&nbsp;is represented by&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1076/Galerie-Buchholz">Galerie Buchholz</a> (Berlin, Cologne, and New York) and&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1564/greengrassi">greengrassi</a> (London).‘Exposé∙es’ Palais de Tokyo, Paris From February 17 to May 14, 2023Published on April 3, 2023.

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當這位奧地利藝廊主想與新一代思考創作媒體的藝術家們合作，他毫不猶疑地邀請了El-Sayegh

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