展览预告 | 四方当代美术馆新展“观象台”将于11月5日开幕
观象台
Observatory
玛丽娜·佩雷斯·西芒
Marina Perez Simão
策展人 | Curator
戴安娜·坎贝尔
Diana Campbell
开幕时间 | Opening
2021.11.05
展期 | Exhibition Duration
2021.11.05 - 2022.02.27
地点 | Venue
南京四方当代美术馆
Sifang Art Museum, Nanjing
四方当代美术馆很荣幸宣布即将呈现巴西艺术家玛丽娜·佩雷斯·西芒在中国的首次大型个展“观象台”。本次展览由策展人戴安娜·坎贝尔策划，展期为2021年11月5日至2022年2月27日。
四方当代美术馆在支持中国当代艺术的发展以外，也致力于将世界各地的前沿艺术创作带到中国南京，以促进文化、人群间的对话与理解。尤其是面对当下这个因疫情而滋生着隔绝与分裂的时代，与陌生远方的相逢就变得更为重要。本馆寄希望于西芒富于勃勃生机与神秘诗意的作品，能为这个依然不平静的秋季引入来自最遥远热带的温暖与启迪。
Sifang Art Museum is honored to announce Observatory, the first major institutional solo exhibition in China of the Brazilian artist Marina Perez Simão. The exhibition is curated by Diana Campbell and will run from November 5, 2021 to February 27, 2022.
In addition to supporting the development of contemporary art in China, Sifang Art Museum is also committed to bringing cutting-edge art creations from around the world to Nanjing, to promote dialogue and understanding among cultures and people. In this particular era of isolation and division fostered by the pandemic, encounters with the distant become even more important. The museum hopes that Simão’s mysterious, vibrant and poetic works will bring warmth and enlightenment from the most distant reaches of the imagination to this still unsettled autumn.
玛丽娜·佩雷斯·西芒
无题，2020
布上油画，170 x 136 cm
Marina Perez Simão
Untitled, 2020
Oil on canvas, 170 x 136 cm
西芒的画作引领我们越过异世界的诱人门槛，盘旋着穿透表达的外部限制，步入那色彩化作动词、线条随音乐共鸣而振颤的力场。她用冷暖改变色调，以创造调色板上意想不到的对比，非同寻常地唤起、保持着光线，几如灯群一般。在遥远的外星地景、尚未发现的大气层中，色泽弥漫的发光雾团可能浮现出什么颜色？她的绘画为超越已知的固态、液态、气态、等离子态之外的新物质形态开辟了可能。此次展览将南京四方当代美术馆转化为一座观象台，通过西芒的画作与斯蒂文·霍尔在建筑中所蕴含的对中国山水画的敬意的相互作用，从无数角度和据点来想象宇宙。这令我们开始质疑自己的视角；西芒甚至假设我们的全部所知都可能是颠倒的。
Simão’s paintings take us into seductive thresholds of an alien world, spiraling through the outer limits of expression into forcefields where colors seem to become verbs and where lines vibrate with a musical resonance. She transfigures tonality by using hot and cold hues that create an unexpected contrast in color palette that evoke and hold light in unusual ways, almost like lanterns. What colors might emerge from the glowing fogbanks of color suffusing in yet-to-be-discovered atmospheres in far-off extraterrestrial landscapes? Her paintings open up possibilities for new states of matter beyond known solids, liquids, gases, and plasmas. This exhibition transforms Sifang Art Museum into an observatory to imagine the universe from a myriad of perspectives and vantage points through the interplay of Simão’s paintings and Steven Holl’s architecture, leading visitors on a journey to consider the interiors and exteriors framed by Holl in new ways. Both Simão and Holl make us question our sense of perspective; Simão even posits that we could all be upside down, for all we know.
玛丽娜·佩雷斯·西芒
无题，2020
布上油画，190 x 143 cm
Marina Perez Simão
Untitled, 2020
Oil on canvas, 190 x 143 cm
西芒着迷于同时体验白昼与黑夜的可能性，如当宇航员看见泛着光泽的悬浮球体从漆黑天空中如岛屿般浮现的时刻。她的许多画作都描绘了同一平面上的多个日、月，并以无数的地平线展开，随后消解了暮色区域——那条将行星体的温暖日光与寒冷暗夜分割的移动界线。“行星”这个词的意思是“游荡的天体”，而西芒提醒道，我们人类的躯体也是在日、月、星辰间摆动。她在工作和生活中参考了占星术，这将我们的生命旅程从来到世界的准确时间、地点与更广泛的行星运动相联系。
Simão is fascinated by the possibility of experiencing both day and night at the same time, such as when astronauts see lustrous levitating orbs emerging like islands from a pitch-black sky. Many of her paintings include multiple suns and moons on the same plane and expand with countless horizon lines that dissolve the twilight zone—that moving line that divides the warm daylight and the cold dark night of a planetary body. The word ‘planet’ means “wandering celestial body,” and Simão reminds us that our human bodies also swing among the sun, moon, and stars. She references astrology in her work and life, a practice that links our life journey from the precise time and place that we came into the world to the wider movement of the planets.
玛丽娜·佩雷斯·西芒
无题，2021
布上油画，50 x 40 cm
Marina Perez Simão
Untitled, 2021
Oil on canvas, 50 x 40 cm
西芒的作品释放了重力对想象力的还原性控制，把我们吸引到她那带电、脆弱空间的强大潜力中，而我们又将它解读为风景。观者的思想在她画中的无数道路上自由游荡，并延伸出画布的边限。尽管艺术家曾在巴西和法国学习绘画，但她的画作构成与中国传统风景绘画有许多共通之处。因为它反对单一视角、支持轴测法、焦点可以在任何地方也可以不在任何地方，也不预设观者的固定视角。与山水画一样，西芒的画作并不直接描绘自然中的风景，而是将山与水的元素结合起来，唤起观者对风景的想象，其中有许多从不是直线的蜿蜒小路。
Simão is fascinated by the possibility of experiencing both day and night at the same time, such as when astronauts see lustrous levitating orbs emerging like islands from a pitch-black sky. Many of her paintings include multiple suns and moons on the same plane and expand with countless horizon lines that dissolve the twilight zone—that moving line that divides the warm daylight and the cold dark night of a planetary body. The word ‘planet’ means “wandering celestial body,” and Simão reminds us that our human bodies also swing among the sun, moon, and stars. She references astrology in her work and life, a practice that links our life journey from the precise time and place that we came into the world to the wider movement of the planets.
西芒的创作过程是在极为精细和数学化的水彩研究中建立起她的绘画结构。西芒倾向于盘旋在置于地面的画布上方，借重力之风，从上开始画，这同时也反映了我们与行星之间互观的痴迷。她将画布从固定的方向感中解放出来，有时甚至颠倒了作品的原始排列。然而，正是这些与她最初计划的分歧及绘画逃离艺术家控制的方式，成为她让作品离开工作室的关键所在，画作本身必须超出她之前的全部预想。
Simão’s work unleashes gravity’s reductive grip on our imagination, drawing us into the powerful potentiality of her charged, vulnerable spaces that we read as landscapes. Our minds are left free to wander in the myriad of paths that open up in her paintings and reach far beyond the limits of the canvas. While the artist studied painting in Brazil and France, the composition of her paintings holds much in common with traditional Chinese landscape painting in the sense that it refutes singular perspective in favor of axonometry, where the focus can be anywhere and nowhere and does not assume a fixed position of the viewer. Like Shanshui, Simão’s paintings do not depict landscapes that are seen in nature, but rather combine mountain and water elements to evoke a feeling of imagining a landscape with a multitude of meandering paths that are never straight lines.
玛丽娜·佩雷斯·西芒
无题，2021
布上油画，40 x 30 cm
Marina Perez Simão
Untitled, 2021
Oil on canvas, 40 x 30 cm
在一个默认通过触摸屏幕来了解一切的世界里，艺术家试图勾勒出令人振奋的奇迹、敬畏和惊叹之感，来自于体验一种过往无从想象的存在感。像所有探险家一样，西芒的实践追求探索未知；她被寻找惊喜所驱动，但却没有任何去索要或征服的欲望。
在不浪漫化殖民恐怖的前提下，西芒常引用蒙特祖玛二世（约1475－1520年，亡于西班牙入侵的中美洲阿兹特克帝国君主）的侦察兵们的观察，作为她在作品中阐述那些莫名无解之物的灵感。据称，他们认为抵达帝国海岸的西班牙船舶是海上的浮山，身穿盔甲的征服者们则是来自另一世界的访客。她同样受被称为“黑天鹅事件”的现象启发，这些事件的特点是不经常出现、却具有关键性的影响，且人们普遍坚持认为这在事后是非常明显的。荷兰探险家威廉·德·弗拉明格于1697年穿越赤道、登陆澳大利亚时，成为第一个看见黑天鹅的欧洲人。在此之前，西方的信仰体系一直认为只有白天鹅的存在，而“黑天鹅”这一发现揭开了人类对世界傲慢假设之愚蠢的面纱。中国的航海探索比影响西芒作为巴西人历史的西方大航海更早，范围也更大。对比艺术家提到的欧洲“地理大发现时代”（从巴西的有利视角来看）和1405-1433年间明朝“郑和下西洋”从南京出发对非洲、南亚、东南亚的探索，可以得出有趣的相似之处。1414年，一只伪装成麒麟的长颈鹿从非洲经现在的孟加拉国被运抵中国。它是通往未知世界的使者、一只象征性的“黑天鹅”，改变了人们对无法触及的世界的认知。
In a world where we are supposed to know everything through the touch of a screen, the artist tries to conjure the exhilarating feelings of wonder, awe, and marvel that come with experiencing a sense of being that was previously unthinkable. Like any explorer, Simão’s practice seeks to probe the unknown; she is driven by a search for surprise, but without any desire to claim or conquer anything.
Without romanticizing the horrors of colonization, Simão often cites an observation attributed to Montezuma’s scouts as an inspiration for how she articulates the inexplicable in her work. They allegedly perceived the Spanish ships arriving at their shores as floating mountains moving on the sea and the armor-clad conquistadors as visitors from another world. She is also inspired by phenomena known as black swan events which are characterized by their infrequent appearance, critical impact, and the widespread insistence that they were obvious in hindsight. The Dutch explorer Willem de Vlamingh became the first European to see a black swan when he crossed the equator and landed in Australia in 1697. Up until that point, Western belief systems posited that only white swans existed, and this discovery lifted the curtain on the folly of arrogant human assumptions about the world. Chinese exploration predates and exceeds the scope of the Western exploration that impacted Simao’s history as a Brazilian, and interesting parallels can be drawn between the artist’s references of the Age of Exploration (from the vantage point of Brazil) and Nanjing via Zheng He’s 1405-1433 explorations of Africa, South and Southeast Asia. A giraffe masquerading as a qilin arrived in China from Africa via what is now Bangladesh in 1414, an emissary to the unknown, a symbolic “black swan” that transformed what people knew of worlds beyond their reach.
玛丽娜·佩雷斯·西芒
无题，2020
布上油画，50 x 40 cm
Marina Perez Simão
Untitled, 2020
Oil on canvas, 50 x 40 cm
本次展览由四方当代美术馆主办，感谢艺术家、策展人、Mendes Wood DM画廊、南京浦口文化旅游发展集团、四方文化集团及所有曾提供过帮助与支持的伙伴，共同在充满不确定性的“后疫情时代”促成了本次跨越地球两端的呈现。
The exhibition is organized by Sifang Art Museum. We would like to thank the artist, the curator, Mendes Wood DM, Nanjing Pukou Culture & Tourism Development Group, Sifang Cultural Group, and all partners who have helped and supported the exhibition in this uncertain “post-pandemic era”.
* 文中作品图片由Mendes Wood DM画廊
（圣保罗、布鲁塞尔、纽约）与艺术家惠允。
Work images above courtesy of Mendes Wood DM
São Paulo / Brussels / New York and the artist.
关于艺术家
About Artist
玛丽娜·佩雷斯·西芒 Marina Perez Simão
玛丽娜·佩雷斯·西芒，1981年生于巴西维多利亚，目前生活、工作于巴西圣保罗。
玛丽娜·佩雷斯·西芒的工作过程本质上基于记忆和图像并置的积累。她将个人经验和源于哲学、文学和新闻等领域的多重参考结合在一起，采集特定叙事，目的在于使用不属于任何预定义语言的绘画方式予以编辑；某种程度上，这些叙事在融合了主题密度和细致处理的有机实践中发展。
西芒将拼贴和绘画等不同介质作为起点，以将室内和室外景观联系起来，构成有时历经未知、抽象、模糊而其他时候历经空白、幻象和再现的旅程。虽然她的作品探索了符号、凝视和想像力的复杂性，但并没有将自己置于不断变换的印象中。在作品引导我们的领域，我们总是要在无法言说的瞬间面对难以理解的事物。
她的近期展览包括“索妮亚·戈麦斯与玛丽娜·佩雷斯·西芒”（佩斯画廊，美国东汉普顿，2020）、“海上觉醒”（Mendes Wood DM画廊，比利时布鲁塞尔，2020）、“南方风景”（Mendes Wood DM画廊，美国纽约，2020）、“小径”（Mendes Wood DM画廊，巴西圣保罗，2020）、“我们的狗眼”（Mendes Wood DM画廊，巴西圣保罗，2018）、“缩影”（巴西驻意大利大使馆，意大利罗马，2016）。
Marina Perez Simão (1981, Vitória) lives and works in São Paulo, Brazil.
Marina Perez Simão’s working process is based fundamentally on the accumulation and juxtaposition of memories and images. By combining personal experiences and multiple references stemming from fields such as philosophy, literature and journalism, the artist collects certain narratives in order to edit them through pictorial means that do not belong to any predefined language; rather, they develop within an organic practice, which combines thematic density and a delicate treatment.
Simão uses a variety of techniques, such as collage, drawing and oil painting, as starting points in order to marry interior and exterior landscapes, she composes visual journeys that sometimes traverse the unknown, the abstract and the nebulous, but also include visions and memories. Simao’s work leads us into territories in which we are confronted with that which is ungraspable, with that elusive and unspeakable instant that poets strive so hard to capture with their words.
Her recent selected exhibitions include Sonia Gomes & Marina Perez Simão, Pace, East Hampton (2020); Éveils Maritimes, Mendes Wood DM, Brussels (2020); Landscapes of the South, Mendes Wood DM, New York (2020); Veredas, Mendes Wood DM, São Paulo (2019); Our dog-eyes, Mendes Wood DM, São Paulo (2018); Miniature, Embassy of Brazil, Rome (2016).
关于策展人
About Curator
戴安娜·坎贝尔 Diana Campbell
戴安娜·坎贝尔是一位美国策展人，毕业于普林斯顿大学。自2010年起，她长期在南亚和东南亚开展工作，以印度、孟加拉国和菲律宾为主。自2013年起，她担任孟加拉国达卡的桑达尼艺术基金会的创始艺术总监，并作为首席策展人策划了广受好评的2014、2016、2018和2020年达卡艺术峰会。坎贝尔将达卡艺术峰会发展成一个领先的南亚艺术研究和展览平台，让南亚的艺术家、建筑师、策展人和作家汇聚一堂，并通过主要基于委任的模式推动新作品和展览在孟加拉国的诞生。她也致力于为此平台增添学术元素，与盖蒂基金会、康奈尔大学比较现代性中心、亚洲艺术文献库和桑达尼艺术基金会合作建立了一个连接非洲、南亚和东南亚现代艺术史的智库。展览制作实践之外，坎贝尔还负责发展桑达尼艺术基金会的收藏，并在基金会位于锡尔赫特的永久会址“室利哈达”（Srihatta）——桑达尼艺术中心与雕塑公园开幕前推动其国际合作。2016至2018年于孟加拉国工作的同时，坎贝尔也是在菲律宾马尼拉和巴丹设有站点的非营利性国际驻留和展览项目Bellas Artes Projects的创始艺术总监，并为2018年和2019年的伦敦弗里兹项目策划了博览会。她是Mumbai Art Room的董事会主席，也是社会参与性艺术实践者国际网络AFIELD的顾问。她撰写的文章曾被《Mousse》、《弗里兹》、《美国艺术》等杂志与纽约现代艺术博物馆等机构发表。
Diana Campbell is a Princeton educated American curator who has been working in South and Southeast Asia since 2010, primarily in India, Bangladesh, and the Philippines. Since 2013, she has served as the Founding Artistic Director of Dhaka-based Samdani Art Foundation, Bangladesh and Chief Curator of the Dhaka Art Summit, leading the critically acclaimed 2014, 2016, 2018, and 2020 editions. Campbell has developed the Dhaka Art Summit into a leading research and exhibitions platform for art from South Asia, bringing together artists, architects, curators, and writers from across South Asia through a largely commission based model where new work and exhibitions are born in Bangladesh, also adding a scholarly element to the platform with a think tank connecting modern art histories in and across Africa, South and Southeast Asia in collaboration with the Getty Foundation, Cornell University Center for Comparative Modernities, the Asia Art Archive, and the Samdani Art Foundation. In addition to her exhibitions making practice, Campbell is responsible for developing the Samdani Art Foundation collection and drives its international collaborations ahead of opening the foundation’s permanent home, Srihatta, the Samdani Art Centre and Sculpture Park in Sylhet. Concurrent to her work in Bangladesh from 2016-2018, Campbell was also the Founding Artistic Director of Bellas Artes Projects in the Philippines, a non-profit international residency and exhibition programme with sites in Manila and Bataan, and curated Frieze Projects in London for the 2018 and 2019 editions of the fair. She chairs the board of the Mumbai Art Room and is an advisor to AFIELD, an international network of socially engaged artistic practitioners. Her writing has been published by Mousse, Frieze, Art in America, the Museum of Modern Art (MoMA) among others.
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