展览预告 | 塞尔·戈麦斯：企业
企业
Enterprise
塞尔·戈麦斯
Sayre Gomez
开幕时间 | Opening
2022.11.04 14:00 - 17:30
展期 | Exhibition Duration
2022.11.04 - 2023.04.09
地点 | Venue
四方当代美术馆
Sifang Art Museum
四方当代美术馆荣幸宣布美国艺术家塞尔·戈麦斯（1982年生于美国芝加哥）在亚洲的首次机构个展“企业”。本展览通过绘画、雕塑和影像等多种媒介的作品，探索艺术家创作中的重要主题与新思路，呈现其实践的创新与广度。从壮丽多彩的场景和令人炫目的自然景致到废弃的广告牌和街道设施，“企业”探讨当代城市中错综复杂的矛盾现实。
Sifang Art Museum is pleased to announce an exhibition of new work by American artist Sayre Gomez (b. 1982, Chicago, USA), featuring painting, sculptures, and video. This comprehensive presentation explores the major themes in his oeuvre and introduces several new trajectories, while also showcasing the breadth of his innovative practice. From epic technicolour vistas and dazzling natural phenomena to degraded advertising signs and street furniture, Enterprise explores the contemporary city as a tangled mesh of conflicting realities.
塞尔·戈麦斯
企业2，2022
布面丙烯
55.9 x 243.8 cm
Sayre Gomez
Enterprise 2, 2022
Acrylic on canvas
55.9 x 243.8 cm
场景发生于洛杉矶，美丽与残酷并存之地。这是一座拥有奢华风景、迷人日落、好莱坞、光鲜亮丽的人群、快车和庞大财富的理想般的城市。另一面，是无止境的扩张：在这片漫无边际的土地上，唯一真实的地标是购物街、告示牌与基础设施。这是一座充斥着疏离与社会不平等的城市；而这种二元对立正是展览的核心所在。展览主题取自同名作品《企业2》（2022），它用难以辨认的字母，复制了美国最大的全国性租车公司之一“企业租车”（Enterprise Rent-A-Car）的商标。画作的晦暗基调与标榜忠于美国式资本主义和企业家精神的基本支柱之一的企业名称相违背，同时将汽车视为西方个人主义和身份的延伸。
The location is Los Angeles, a place that is as beautiful as it is brutal. A mythical city of opulent landscapes and seductive sunsets, the home of Hollywood, glamorous people, fast cars, and immense wealth. The flip side is unending sprawl: a diffuse terrain in which the only real landmarks are strip malls, signage, and infrastructure. A city riddled with neglect and social inequity; this dichotomy lies at the heart of the exhibition. Borrowing its name from the painting Enterprise 2 (2022), the titular work, with its barely discernible letters, replicates the logo of Enterprise Rent-A-Car, one of America’s biggest national car hire companies. The dark tenor of the painting sits at odds with the corporate moniker which boasts its allegiance to one of the fundamental pillars of American style capitalism and the entrepreneurial spirit; while also recognizing the central role of the automobile as an extension of Western individualism and identity.
塞尔·戈麦斯
日产天籁，2022
布面丙烯
243.8 x 365.8 cm
Sayre Gomez
Altima, 2022
Acrylic on canvas
243.8 x 365.8 cm
塞尔·戈麦斯
地狱，2022
布面丙烯
152.4 x 152.4 cm
Sayre Gomez
Inferno, 2022
Acrylic on canvas
152.4 x 152.4 cm
汽车成为贯穿展览的主线。从地位象征、身份表现、交通方式到无家可归者的临时庇护所，以及公共交通匮乏的大城市中重要的生活必需。《路跑》（2021）、《日产天籁》（2022）和《地狱》（2022）传达同一主题的不同面向，捕捉由多层混凝土公路、污染、壅塞、循环流动组成的城市网络，和一个由汽车整合成的世界观。录像作品《工作室探访》对此进行了更深入的探讨，观众可以坐在戈麦斯的好友兼艺术家JPW3为展览定制的MOMO赛车座椅雕塑上观看。
Cars become a throughline within the exhibition. From status symbols, expressions of identity, and modes of transportation to makeshift shelters for the homeless, and essential lifelines in vast cities with scarce public transportation. Roadrun(ing) (2021), Altima (2022) and Inferno (2022) communicate different aspects of this theme, capturing an urban network of multi-layered concrete highways, pollution, congestion, circulatory flows, and a view of the world that is forever mediated by the automobile. The video work Studio Visit explores this in greater depth, which can be viewed from custom made MOMO racing seat sculptures made for the exhibition by Gomez’s long time friend and artist, JPW3.
塞尔·戈麦斯
牛奶、面包、苏打、香烟，2022
布面丙烯
213.4 x 304.8 cm
Sayre Gomez
Milk, Bread, Soda, Cigarettes, 2022
Acrylic on canvas
213.4 x 304.8 cm
观看塞尔·戈麦斯的大尺幅绘画作品，如《牛奶、面包、苏打、香烟》（2022）、《日产天籁》（2022）和《日出于晖》（2020），务必记得它们皆为构建出的现实。这些画作基于不同地点拍摄的照片，而后拼接在一起以创造新的构图。因此，最终所产生的图像是一种既“真实”又想象的合成。戈麦斯采用大量技法将这些照片蒙太奇转化为表面完美无瑕的超级写实画作：传统美术技法、工业化电影和布景制作、商业标志制作和数字科技。现实空间与模拟空间的难辨难分，暗喻当代城市经验的疏离，而综合的技术工艺则反映其不断波动、去中心化且无限流通的状态。
When viewing Sayre Gomez’s large-scale paintings, such as Milk, Bread, Soda, Cigarettes (2022), Altima (2022) and Sunrise over Sunset (2020), it is important to remember that these are constructed realities. The paintings are based on photographs taken at various locations, and are subsequently stitched together to create new compositions. The resulting images are thus a conflation, at the same time both ‘real’ and imaginary. Gomez employs a wealth of techniques to translate these photographic montages into sleek, hyperrealistic paintings with immaculate surfaces: traditional fine art methods, industrial film and set-making processes, commercial sign making and digital technology. The inability to distinguish between actual and simulated spaces mimics the alienating effect of the contemporary urban experience, while the hybrid technical process reflects its constantly fluctuating, decentralised and endlessly negotiable atmosphere.
塞尔·戈麦斯
门卫（5），2022
丙烯、聚氨酯泡沫
63.5 x 59.7 x 39.4 cm
Sayre Gomez
Gatekeeper (5), 2022
Acrylic on polyurethane
63.5 x 59.7 x 39.4 cm
本次展览同时包括全新的绘画系列，其特点是在反光的黑色背景上绘有视错觉的贴纸。这些作品在汽车漆面上以丙烯颜料绘成，闪亮的镜面效果，犹如反光却无法看到内部的有色窗户。关于保护与安全的概念，不仅被绘有私人安保公司标志的贴纸所凸显，也在艺术家近期的一系列雕塑作中有所呈现。后者（《门卫》系列）是基于电动闸门机制的外壳所制作，人们经常忽视的机器盒，却控制着公共与私人空间的想象边界。同样探讨安全议题上的还有《8,760,000（编号1–4，2022）》，艺术家首次在绘画中使用直升机作为主题。此系列参考洛杉矶警署的空中执法项目，该部门从1956年的一架直升机开始，现成为世界上最大的高空监视单位。每天至少有两架直升机在空中飞行20个小时以上，纳税人为之付出的花费也堪称巨额。标题中的数字则反映了每架直升飞机大致的年度花费。
The exhibition also includes a new series of paintings featuring trompe l’oeil stickers on reflective black backgrounds. Executed in acrylic paint on automotive enamel, the works have glistening mirror-like surfaces that reference tinted windows: reflective and impenetrable. This idea of protection and safety is not just underscored by the stickers themselves, which immortalise the logos of private security companies, but also by a series of recent sculptures. The latter are based on the casings for electric gate mechanisms. These typically overlooked boxes control the barriers that draw the notional lines between public and private space. Building on the theme of security are the paintings entitled 8,760,000 (nos. 1-4, 2022), which introduces the helicopter as a new motif in Gomez’s oeuvre. These reference the Los Angeles Police Department’s airborne law enforcement program, a division that began with one helicopter in 1956 and is now the world’s largest overhead surveillance unit. With a minimum of two helicopters in the sky for at least twenty hours per day, the cost to taxpayers is immense, the titles reflect an approximate annual figure for each aircraft.
塞尔·戈麦斯
8,760,000（1），2022
布面丙烯
182.9 x 127 cm
Sayre Gomez
8,760,000 (1), 2022
Acrylic on canvas
182.9 x 127 cm
本次展览由四方当代美术馆主办，感谢艺术家、霍夫肯画廊、南京浦口文化旅游发展集团、江苏四方文化集团及所有曾提供过帮助与支持的伙伴。
The exhibition is organized by Sifang Art Museum. Special thanks to the artist, Xavier Hufkens Gallery, Nanjing Pukou Culture & Tourism Development Group, Jiangsu Sifang Cultural Group and all partners who have helped and supported this exhibition.
关于艺术家
About Artist
塞尔·戈麦斯
Sayre Gomez
塞尔·戈麦斯，1982年出生于美国芝加哥，现生活、工作于洛杉矶。他先后于芝加哥艺术学院、加州艺术学院获艺术学士学位与艺术硕士学位。近期个展包括：山德雷托·雷·雷包登戈基金会，都灵；François Ghebaly画廊，洛杉矶；霍夫肯画廊，布鲁塞尔；Nagel Draxler画廊，柏林。机构收藏：洛杉矶当代艺术博物馆、华盛顿赫希洪博物馆、洛杉矶布洛德博物馆、洛杉矶郡立艺术博物馆、洛杉矶汉默美术馆、纽约惠特尼美国艺术博物馆、维也纳现代艺术博物馆、悉尼新南威尔士美术馆、墨尔本维多利亚国家美术馆、贝鲁特艾什提基金会、都灵山德雷托·雷·雷包登戈基金会、蒙特利尔阿森纳当代艺术中心、迈阿密佩雷斯艺术博物馆、东京Oketa收藏、东京Maki收藏、纽约奥尔布赖特·诺克斯收藏与迈阿密卢贝尔博物馆等。
戈麦斯近年来以其结合半虚构和照相写实技法的绘画崭露头角，人称“X风景”。他从一系列图像制作技术中汲取灵感，包括错视画法、手绘喷枪、模版和好莱坞布景绘画等，受洛杉矶城市景观启发。画作以住房、路标、街道广告牌和地标为特色，是在城市中长时间驾车所见的景致。他的画作可同时触及自然之美（日落、棕榈树）、时间的流逝、城市的衰落和资本主义式的怀旧（经常唤起往日时光的标示、颜色和文字）及当代生活（涂鸦、手机信号发射塔）。戈麦斯的画布反映出与科技结合的新现实主义，一种有策略性的现实主义。艺术家一边开车漫游洛杉矶，一边在移动的车内用手机捕捉不完美的城市景观，刻画出模糊的画面。戈麦斯将他的观察转化为超现实的图像，挑战着观者区分虚实的能力：看似真实的城市景观可能是虚构的画面。通过这种方式，他探索日常生活和数位文化之间受图像传播操纵影响下日益脆弱的关系。艺术家也通过雕塑、装置和影像等媒介来探讨这些主题。
Sayre Gomez (b. Chicago, 1982) lives and works in Los Angeles. He holds an MFA from the California Institute of the Arts and a BFA from the School of the Art Institute of Chicago. Recent solo exhibitions include the Fondazione Sandretto Re Rebaudengo, Turin; François Ghebaly, Los Angeles; Xavier Hufkens, Brussels; and Galerie Nagel Draxler, Berlin. Gomez’s works are held in the permanent collections of the Museum of Contemporary Art, Los Angeles; the Hirshhorn Museum, Washington D.C.; The Broad, Los Angeles; Los Angeles County Museum of Art, Los Angeles; Hammer Museum, Los Angeles; Whitney Museum of American Art, New York; mumok - Museum moderner Kunst Stiftung Ludwig Wien, Vienna; Art Gallery of New South Wales, Sydney; ICA, Miami; National Gallery of Victoria, Melbourne; Aïshti Foundation, Beirut; Fondazione Sandretto Re Rebaudengo, Turin; Arsenal Contemporary, Montreal; Pérez Art Museum, Miami; Oketa Collection, Tokyo; Maki Collection, Tokyo; Albright Knox collection, New York; and Rubell Museum, Miami.
Gomez has risen to prominence in recent years with his semi-fictionalised and photorealistic paintings known as X-scapes. Executed in a wide range of techniques, including trompe l’oeil, airbrushing, stencilling and those used to paint Hollywood sets, his work is inspired by the urban landscape of Los Angeles. Many of his paintings feature the housing, road signs, billboards and landmarks that form the backdrop to long car rides around the city. His paintings can simultaneously touch on the beauty of nature (vivid sunsets, sumptuous palms), the passage of time, urban decay and commercial nostalgia (signs, colours and lettering often evoke bygone days) and contemporary life (graffiti, cell phone masts). Gomez’s works on canvas reflect his commitment to a new form of realism mediated by technology—a realism that embraces artifice. The artist takes digital snapshots while driving across the city of Los Angeles. His frames are blurred, captured imperfectly on a cell phone from inside a moving vehicle. Gomez synthesises his observations into hyperreal images that challenge our ability to differentiate between authenticity and simulation: a cityscape that feels true-to-life might just as easily be an artificial construction. In this way, he explores the increasingly tenuous link between our everyday surroundings and a digital culture that is relentlessly driven by enhanced and manipulated images. Gomez also explores these themes through other mediums, including sculpture, installation and video.
作品摄影：Ernest Gibson
艺术家肖像摄像：Paul Salveson
以上致谢艺术家与霍夫肯画廊，布鲁塞尔
Works Photo by Ernest Gibson
Artist Portrait by Paul Salveson
Courtesy of the Artist and Xavier Hufkens, Brussels
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