展覽海報

展覽名稱：花束的象征意義——露茜安·芳塔娜個展

展覽時間：2024年4月27日 - 2024年5月26日（周二-周日10:30 - 17:30，周一閉館）

展覽地點：藝棧畫廊 ICI LABAS 北京市朝陽區酒仙橋路798東街

聯系人：丁女士 13001170598 

露茜安的個展將在北京藝棧畫廊舉辦。這個題為《花束抄錄》個展首次展出她最近創作的一系列繪畫作品。雖然這些作品的主題“花束”是新穎的，但是這些作品無論按照何種順序展示，都與她過去幾年進行的創作和研究是延續的。露茜安的作品經典地呈現了事物的普遍性和特殊性，在這種語境下，她的作品詮釋了對宇宙尺度的原始好奇以及對人類歷史的評估，尤其是對女性的地位和角色的評估。最后，她用大量的抄本（附錄或補充）來回應我們作為人類身體和人類思想中的個體，通常如何具體地處理人類生與死的高潮和低谷。 如果說，她早期的畫作描繪了銀河系的風景，這些特寫鏡頭就充分地展示了思考人類命運的女性原型。最終，通過對我們的物理現實（每次添加一個抄本）看似的無限探索，這個主要的系列作品才得以呈現。

藝術家露茜安·芳塔娜 Lucienne Fontannaz

露茜安·芳塔娜出生于瑞士。她擁有藝術教育（加拿大康考迪亞大學）、藝術管理（澳大利亞新南威爾士大學）碩士學位和美術學研究碩士學位。2021年，她獲得昆士蘭藝術學院（澳大利亞格里菲斯大學）視覺藝術學的博士學位。露茜安曾在瑞士、加拿大、澳大利亞和中國教授藝術、展出她的繪畫作品并且出版了書籍。她還曾擔任若干大型藝術展覽的策展人，展覽主題包括歷史性和當代原住民藝術以及涉及文化多樣性、語言和身份的中國收藏和藝術。露茜安早期的繪畫作品描繪了瑞士阿爾卑斯山和澳大利亞沙漠的風景，這些作品都受到地形和傳統故事的啟發。近年來，她的作品著眼于歷史上和當今媒體中女性的刻板印象。

Lucienne Fontannaz is originally from Switzerland. She has master degrees in Art Education (Concordia University) and Art Administration (University of New South Wales) as well as a research Master of Fine Art degree (University of New South Wales). In 2021, she completed a Doctor of Visual Arts program at the Queensland College of Art (Griffith University). Lucienne has taught art, exhibited her paintings, and published books in Switzerland, Canada, Australia, and China. She has also worked as a curator of major art exhibitions on subjects such as historic and contemporary Aboriginal artworks, Chinese memorabilia and art addressing cultural diversity, language and identity. Lucienne’s earlier paintings depicted landscapes of the Swiss Alps and Australian desert scenery equally inspired by their topography and traditional stories. In recent years, her artworks have addressed the stereotypical representation of women, both historically and in to-day’s media.

The Beginning of the Beginning 開始的初始 2021, 378 x 508mm acrylic paint on paper 丙烯、紙本

想象中的風景，原始的奇跡

這個系列繪畫作品是關于物質之旅的幻想視覺敘事，是對原始景觀實質性的探索海洋的廣闊水域、其多巖石的島嶼、行星和地球表面下未知的黑暗或有時被開發的深處，穿過沙漠尋找土壤或心靈綠洲的陽光。除此之外，還有宇宙的浩瀚，它的行星，恒星，小行星，令人眼花繚亂的連續運動以及宇宙的熵。有時，小小的人物出現在里面，成為這個無限舞臺上展開的故事之見證者。

Venus Wakes on an Island of Debris 金星在一片廢墟上醒來2021, 378 x 508mmacrylic paint on paper 丙烯、紙本  

作為女性原型的人性

這些作品描繪了典型的女性形象。她們是經過專門的挑選，作為人類狀況極端的典范。每個女人都被剝奪了權力。無論在過去和今天，這類女性的名單很長，她們遭受不信任和背叛，導致對她們的暴力、甚至謀殺。從那時起，她們的失寵、地位的低微塑造了我們女性的意識和期望。露茜安重新詮釋了對美索不達米亞女神伊南娜、希伯萊圣經《創世記》中的夏娃或羅馬女神維納斯等原型的考驗、磨難和勝利，通過挪用她們早期在歷史繪畫中的形象，恢復了她們的尊嚴和權威，使她們在今天具有象征性和實際意義。人類充滿了這樣的經歷。男人、女人、孩子、歡笑、哭泣、受難，這些都無可避免地超越了生存本身。

In the Light, Against the Wind 在光明中，逆風而行 2024, 378 x 508mm  acrylic paint on paper 丙烯、紙本

花束作為無言的吶喊和絕望的呻吟，它們傳達了干涸的眼淚或郁郁蔥蔥的慶祝，它們是歡迎和不受歡迎的震驚和敬畏的預兆

最近，露茜安進行了一系列意想不到的繪畫，探索她未曾經歷過的主題......目睹直接的身體暴力。雖然暴力事件的細節并不一樣，但這些近距離接近，使她能夠觀察到隨后的個人和社區反應。情感沖擊和知識分子的憤慨都包含在一個統一的象征性姿態中，甚至被一種統一的象征性姿態所淹沒——送花。

Target Achieved and Lost 目標實現又落空了  2023, 508 x 378mm  acrylic paint on paper 丙烯、紙本

這當然是全球性的司空見慣，正如我們在電視上或街上看到的那樣，在致命事故、自然災害和大大小小的悲慘事件中。兒童的死亡、迫害和戰爭的摧殘，無論其是名人或不知名人士，都引來了脆弱的、花瓣薄薄的鮮花，好似一劑靈丹妙藥。因此，露茜安對研究鮮花和花束在過去到現在的人類互動中所扮演的角色產生了興趣，包括送花束的各種情況，以及它們與階級和性別的聯系。獻花的“場合”可以是非常私密的，也可以是非常公開的，可以是小的，也可以是盛大的，標志著快樂和愉快，悲傷或悲劇的事情?；ㄊ南笳饕饬x與女性、美麗和愛情有關，但也象征著和平或戰爭時期的腐爛、衰老和災難性死亡。

The Theatre of Life and Death 生死劇場 2021, 378 x 508mm  acrylic paint on paper 丙烯、紙本

作為一種普遍的社會文化現象，花束的歷史可以追溯到很久以前。在埃及，它們被列入陪葬品中，以幫助逝者進入來世。在古希臘，人們會向女性獻上花束，以慶祝她們的美麗。在羅馬時代，它們代表著奢華，放大了縱欲。因此，它們因其異教內涵而被早期基督教會禁止。然而，查理曼大帝在發現阿拉伯花園后進行了干預，隨后創建了自己的、藥用的和觀賞的花卉的城堡花園。當教會最終與涉及鮮花的習俗和解時，這些美麗的花朵被作為花束呈現。從 15 世紀和 16 世紀的文藝復興時期，再到 17 世紀的巴洛克時期，鮮花具有深刻的象征性美學意義， 進入18 世紀，它們也成為一種非語言交流的手段，其靈感來自奧斯曼帝國隱喻的花卉符號學代碼。在19世紀資產階級的歐洲，花束成為室內裝飾的主要用品。從整個20世紀到現在進入了21世紀，花束的文化意義已經在無數的非正式和正式場合中不斷增加。

Another Direction 另一個方向 2023, 378 x 508mm acrylic paint on paper 丙烯、紙本

除了這種文化上的象征意義之外，花卉還在植物學、科學、醫學和營養學等許多研究領域發揮了重要作用。事實上，花對人類生存的貢獻具有開創性的重要性。開花的植物在1.3億年前出現在地球上，因此，與它們關聯的昆蟲傳粉者也是如此。兩者的共存使果實和種子的產生成為可能，最終導致了包括人類在內的陸生哺乳動物的出現。

花卉的布置在矛盾中絢麗多彩，在“靜物”的藝術概念中永垂不朽。因此，花束時尚地代表了生命的高度和死亡的深度。無論是手捧野花的簡單聚會、還是對紀念性環境和場合的精心裝飾都是如此。無論何時何地，花束都具有最能打動人心的審美形式和象征內容。

Paradise 樂園 2022, 508 x 378mm  acrylic paint on paper 丙烯、紙本

因為花束作為一個概念是露茜安近期藝術作品的核心，所以她對花本身的引用完全在于將它們的輪廓表現為花瓶中的花束形式。這個輪廓結構中包含了對風景、女性和神話的具象或抽象描繪，這些都是她之前一些畫作的一部分。通過這種方式，每件作品都是將選定的花束與不同的底色通過繪畫完成的，因為它的歷史語境和可能性既反映了生活的不同時刻，又具有新的意義。然后，在這個輪廓結構的內部和外部以不同的方式使用油畫顏料來創作，將內部和外部統一在當下。

在此次展覽中，花束主題的繪畫與專注于風景、女性和神話的作品一起共同喚起了特定的記憶和情緒。然而，這些作品并沒有局限于情感氛圍。相反，它們以一種客觀化的方式表明，生命存在于一種多維度地貌中，由我們的肉體、持續的景觀以及物種的近距離和遙遠的社會進化所構成。（中文翻譯: 晉華）

Introduction to the exhibition

Lucienne’s solo exhibition The Bouquet Codicil at ICI LABAS Gallery, Beijing, features for the first time her latest series of paintings. While novel in terms of their dominant subject —the bouquet—these works are nevertheless situated on a continuum with artwork and research she has undertaken in past years. Typically, Lucienne moves from the general to the specific, in this instance, from primeval wonderings about the scale of the universe, to an assessment of human history, specifically of the place and role of women. Finally, she responds with numerous codicils (addendums or additions) to how we as individuals in human bodies and with human minds typically deal with the highs and lows of life and death. Consequently, the earlier paintings depict galactic landscapes. Close ups show they are populated with female archetypes who ponder the fate of humanity. And finally, the major series of seemingly limitless explorations of our physical realities (adding a codicil on each occasion) is enabled via the symbolic visual language of the bouquet.  

 Lost in the Islands Sea 迷失在島嶼之海 2021, 508 x 378mm

Imaginary landscapes, primeval wonderment

The paintings for this series are illusionary visual narratives about journeys into matter, an exploration into the substance of primordial landscapes—the watery expanses of the sea, its rocky islands, the dark unknown or at times exploited depths under the surface of the planets and our earth, the streaking sunlight across deserts to find an oasis either of the soil or mind. And beyond it all, the immensity of the cosmos, its planets, stars, asteroids, a dizzying continuous motion, the entropy of the universe. Sometime, small human figures appear within, being spectators of, witnesses to the unfolding stories that play out on this infinite stage.

 To Survive 為了生存 2022, 508 x 378mm

Humanity as female archetypes

These works depict archetypal female figures. Specifically chosen as they are exemplars of extremities of the human condition. Each woman was dispossessed of her powers. The list is long of women who, in the past and the present, endured mistrust and betrayal, leading to violence against them, even murder. And their fall from grace, their diminished status, has shaped our consciousness and expectations of womanhood ever since. Lucienne reinterprets the trials, tribulations, and triumphs of archetypes such as the Mesopotamian female deity Inanna, Eve from the Book of Genesis in the Hebrew Bible, or the Roman goddess Venus, through appropriation of their earlier representations in historical paintings, restoring their dignity and authority and enabling them to be symbolically and practically inspirational today. Humanity is redolent with such experiences. Men, women, children laugh, cry, suffer and yet inevitably achieve much more than mere survival.

 Champagne of Stones 石頭的香檳 2023, 508 x 378mm

Bouquets as unspoken shouts and desperate whispers, they convey dry tears or lush celebration and they are the harbingers of welcome and unwelcome shock and awe

Most recently, Lucienne started an unexpected series of paintings exploring a subject new to her experience…the witnessing of direct physical violence. Although the specifics of the violent incident are not essential, it was sufficiently close to enable her to observe the ensuing individual and community reactions. Emotional impact and intellectual indignation were each subsumed within, even overwhelmed by, a uniform symbolic gesture—the giving of bouquets of flowers.

 Abundance Amongst the Ice 冰層中的豐富 2023, 508 x 357mm

This is of course universally commonplace, as we see on television or on the street, at fatal accidents, natural disasters, and tragic events large and small. The death of children, the blight of persecution and war, of celebrities and unknown persons, all attract the fragile, petal thin panacea of flowers. Consequently Lucienne became interested in researching the role flowers and bouquets have played in human interactions from the past to the present day, including the various situations in which bouquets are given, as well as their affiliation with class and gender. ‘The occasion’ to offer a bouquet can be very personal or very public, small or grand, marking something joyful and pleasant, sad or tragic. The symbolism of the bouquet has been linked to women, to beauty and love, but has also signified decay, aging and catastrophic death, in times of peace or war.

A widespread socio-cultural phenomenon, bouquets go far back in history. In Egypt they were included amongst burial objects, to help in the passage to the afterlife. In Ancient Greece, bouquets would be offered to women, in celebration of their beauty. In Roman times they represented voluptuous opulence, amplifying indulgence. Consequently, they were banned for their pagan connotations by the early Christian church. However, Charlemagne intervened after discovering Arabic gardens, and subsequently created his own castle garden of medicinal and ornamental flowers. When the Church eventually became reconciled with customs involving flowers, these blooms of beauty were presented as bouquets. From the 15th and 16th c Renaissance and then into the 17th c Baroque periods, flowers accrued deeply symbolic aesthetic significance, and in the 18th c, they also came to be a means of non-verbal communication, taking inspiration from the Ottoman Empire’s hidden floral semiotic codes. In 19th century bourgeois Europe, bouquets became a major focus of interior decoration. And throughout the 20th and now into the 21stc the cultural significance of bouquets has continued to grow across countless informal and formal circumstances.

Red River City 紅河城 2022, 508 x 357mm

As well as this cultural symbolic significance, flowers have been instrumental in many areas of research such as botany, science, medicine, and nutrition. The contribution of flowers to human existence is in fact of seminal importance. Flowering plants emerged on Planet Earth 130 million years ago, and consequently so did their associated insect pollinators. The co-existence of each enabled the production of fruit and seed, which eventually led to the emergence of terrestrial mammals including humans.

The arrangement of flowers is resplendent in contradictions, immortalised in the artistic concept of the ‘still life’. Consequently, bouquets stylishly represent the heights of life and depths of death. This remains true whether they be a simple gathering of wildflowers in the hand or an elaborate accoutrement to a monumental setting and occasion. No matter where or when, bouquets possess the aesthetic form and symbolic content which most powerfully strikes at the heart.

 Making Breaking 建構_解構 2023, 508 x 357mm

Because the bouquet as a concept is central to Lucienne’s recent artworks, her reference to the flowers themselves lies exclusively in the representation of their silhouette as a bouquet form in a vase. Contained within this outline are figurative or abstracted depictions of landscapes, women and myths that are sections of some of her previous paintings. In this way, each work is created by pairing a selected bouquet with a different underlay painting chosen because of its historic context and potential for both reflecting various moments lived and carrying new meaning forward. Paint is then applied variously inside and outside of this profile, uniting inner and outer in the present.

In this exhibition, bouquet paintings, alongside works focussing on landscapes, women and myths altogether conspire to conjure up particular memories and moods. However, the works do not surrender to an emotional atmospheric. Rather they demonstrate in an objectified way that life exists in a multidimensional terrain made up of our physical bodies, the sustaining landscape and through the close and distant socialisation of species.