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Hangar Bicocca是米兰的一个大型的由机库改造的艺术展览中心，由倍耐力（一家中国的生产轮胎的公司）所有。威尔士概念画家Cerith Wyn Evans在此举办了有史以来规模最大的个展“....the Illuminating Gas“，参观者将获得沉浸式的感官体验。展览中用悬挂的霓虹灯雕塑和膨胀的声景填充了工业设施。”展览集中展示了艺术家的二十四件作品，包括早期雕塑、复杂的巨型装置以及全新创作，构成了一支光、能量和声音的和谐交响曲，为观者提供独一无二的联觉式（synesthetic）体验。策展人Roberta Tenconi和Vicente Todoli利用了艺术家在不同作品中呈现视觉、文字及对光线的偏爱，为展览注入了凝聚力、连续性和戏剧性。 An immersive sensory experience awaits visitors at Milan’s Pirelli HangarBicocca courtesy of Welsh conceptual artist Cerith Wyn Evans, whose largest-ever solo exhibition “....the Illuminating Gas” fills the former industrial facility with suspended neon sculptures and distended soundscapes. Unfolding across 5,000 square-metres, 24 monumental installations, earlier sculptures and new productions synthesize a complex constellation of light and sound that showcase Wyn Evans’ exploration of these ephemeral mediums, highly refined aesthetic and enduring preoccupation with the subjective nature of perception. Taking advantage of the artist’s practice of repeating visual and textual sources across different bodies of work, and his predilection for light as his materia prima, curators Roberta Tenconi and Vicente Todolí have imbued the exhibition with formal cohesion, theatrical continuity and operatic drama. 
他以实验电影制片人开始其艺术生涯。他一直致力于通过雕塑、装置、摄影和电影等体现语言和感知。 他的作品以电影般的敏感度为基础，从文学，音乐，天文学等各种引文中汲取灵感，将其转化为一种光和声音的空灵语言。 Starting his artistic career as a filmmaker, Wyn Evans gained acclaim for his experimental films before turning, in the 1990s, to sculptures, installations, photographs and performative interventions that focus on language and perception. Underpinned by a cinematic sensibility, his work draws from a diverse body of references and quotations, from literature, to music, to astronomy, which he decontextualizes and translates into an ethereal language of light and sound. 
概念驱动尤其语言和视觉感知之间的相互关系。Wyn Evans的作品在形式上和概念上都经常提及开创性的艺术家Marchel Duchamp的作品。 实际上，展览的名称“ ....the Illuminating Gas”，是从杜尚的最后作品《Étantdonnés》中得名的：1. La chute d'eau，2. Le gaz d'éclairage，（给出：1 瀑布，2.发光气体），他从事了20年，直到他事业的终点。并非巧合的是，Hangar Bicocca展出的艺术品也跨越了20年，这意味着展览中的一切，从霓虹灯雕塑的最小扭曲到音响装置的节奏都有其背后的深意。 His concept-driven approach, and especially the interrelation between language and visual perception, alludes to ground-breaking artist Marchel Duchamp whose work Wyn Evans often references both formally and conceptually. In fact, the title of the exhibition, “....the Illuminating Gas”, takes its name from Duchamp’s final work, Étant donnés: 1. La chute d’eau, 2. Le gaz d’éclairage, (Given: 1. The Waterfall, 2. The Illuminating Gas), which he worked on for 20 years towards the end of his career. Not coincidentally, the artworks on display at Pirelli HangarBicocca also span a 20-year period, implying that everything in the exhibition, from the smallest twist of the neon sculptures, to the rhythm of the sound installations, serves a purpose. 
如果说这次展览是一部歌剧，以灯光为剧本，那么开幕的装置作品StarStarStar/Steer (totransversephoton, 2019)就是序曲。由7根20米高的灯柱组成，灯柱由管状灯组成，在黑暗的大厅里有节奏地开关，这幅脉动的不朽作品创造了一种灯光和阴影的舞蹈。伴随着邻近作品《37长笛》(2018)发出的嘶嘶声，这是一个由透明管组成的飘渺的玻璃雕塑，这个令人着迷的装置向参观者介绍了Wyn Evans的艺术世界。 If the exhibition is an opera with light as its libretto, then the opening installation StarStarStar/Steer (totransversephoton) (2019) is the prelude. Consisting of seven 20-metre-high light columns made out of tubular lamps that are rhythmically switched on and off in the darkened hall, the pulsating, monumental work creates a choreography of lights and shadows. Eerily accompanied by a hissing soundtrack produced by the adjacent Composition for 37 flutes (2018), an ethereal glass sculpture also composed of transparent tubes, the mesmeric installation introduces visitors to Wyn Evans’ artistic universe. 
作品Acts I and II take place占据了Hangar Bicocca最大的空间，一个30米高的教堂大厅，其中展现精美的视觉效果，共13个霓虹灯系列雕塑，Neon Forms (after Noh) (2015-2019) 和by Light (in Time) (2017)探索了霓虹灯在空间直线和曲线的形式…最初构想为伦敦英国泰特美术馆的杜维恩画廊设计，by Light (in Time) 在米兰以新的形式呈现。但是当你处于移动状态时，曲线和螺旋开始形成不同形状，引发共鸣。从特定元素——日本能剧中的姿态和手势获得灵感构成了the Neon Forms (after Noh) 系列的基础。这些系列以诗意的方式(三维)描绘了某个角色是如何上演的。 |
