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

<a href="https://parisplus.artbasel.com/catalog/gallery/2906/Galerie-Pietro-Spart%C3%A0">Pietro Spartà藝廊</a>是一個有趣的異類。藝廊的空間位於距離巴黎2小時車程的勃艮第郊野，周圍是葡萄園，被運河一分為二。此外，藝廊空間「極具象徵性地」脫離了藝術版圖，因為他們沒有任何的線上展示形式。同名創始人Spartà並不需要任何的修飾來吸引藝術家和收藏家。 Pietro Spartà是一個任性的實驗家，他了解自己所選擇的價值觀，是基於直覺、激情和社群的。

‘I spent a long time working on this painting, and I was getting quite frustrated with it after a while. There was still some sense of freshness to the background, but I felt that it got quite worked, so I decided I wanted to do some gesture on the top that was quite fast – and that’s where the swans came in. The motif is based on a little 1980s crystal swan ornament with interlocking necks that I found in a charity shop, something very kitsch but quite tender as well, and that in a way should have upended the whole composition, but for me it really made the painting come into its own.

‘I called it Unstuck because it reminded me of making a collage, when you move the pieces around on top of the paper and they suddenly lock into place, in an unexpected way. I’m interested in things that walk a border between what’s acceptable and what’s not, and that element of transgression – to use the ornament and try to propose it as a serious motif. So, it’s not about kitsch in itself, but rather about trying to create something authentic, via a route that tricks me as a painter around my own version of meaning and authenticity.&nbsp;

‘The swans recurred in many paintings in that series and after a while they became like a stamp, or a monogram, which is why I titled the shows&nbsp;“Monogram”. The monogram is about expressing something in a very reduced way, the interlocking of letters or a symbol, that has a much bigger power than it should have – that idea of a sign that represents an entire system is something that interests me. What exactly is the difference between a sign and an image, and where can I play on that order?

‘To me painting is about distilling the motifs or hooks that come out of me, which is also similar to the way I make films, although the tools and processes are very different. I’m always following a hunch which might come out as a motif or a compositional element or might come out as a character in a film, and then it’s about giving myself permission to pursue it and trusting the process. So it’s quite an intuitive process in that it’s not about a tangible thing yet – it’s about a lack of a thing in a way. It’s just me trying to take that apart and understand what interests me, through the making of films and paintings. But with painting you get to work in such a direct and immediate way, I find that kind of magical.’

Rosalind Nashashibi is represented by&nbsp;<a href="https://www.artbasel.com/catalog/gallery/2055/Grimm">Grimm</a> (Amsterdam, London, New York).‘Monogram’ Carré d’Art, Musée d’art contemporain Nîmes Until March 26, 2023Louise Darblay is a writer, editor, and translator based in London.Published on February 14, 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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Currently on view at Carré d’Art in Nîmes, Unstuck combines traditional and contemporary motifs

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