展覽海報(bào)

展覽名稱：宋小松“皆非”個(gè)展

策展人：Fred Dervin（文德）

開幕日期：2023年11月25日下午三點(diǎn)

展覽時(shí)間：2023年11月25日-12月31日

展覽地址：藝棧畫廊ICI LABAS ，798藝術(shù)區(qū)798東街D10

《無(wú)題2019-6》（Untitled2019-6） 50x50cm，2019 紙質(zhì)、水墨設(shè)色、丙烯金 Golden gate constellation encre de Chine papier chinois acrylique

皆非——宋小松：藝術(shù)的裂痕

宋小松曾就讀于法國(guó)巴黎國(guó)立高等美術(shù)學(xué)院和杭州中國(guó)美術(shù)學(xué)院。他還曾在北京的中央美術(shù)學(xué)院工作，在那里他對(duì)中國(guó)傳統(tǒng)的紙上水墨技法產(chǎn)生了濃厚的興趣。他的藝術(shù)創(chuàng)作可以追溯到幾十年前，基于不同技術(shù)（繪畫、素描、裝置和攝影）的使用，展示了（至少）三種不同文化的交叉影響：保加利亞、中國(guó)、法國(guó)。

在英語(yǔ)中，neither是用來描述不屬于或不滿足兩個(gè)或多個(gè)選擇中任何一個(gè)的事物的。它指的是存在兩種選擇，但所討論的卻并不屬于這兩種選擇的情況。因此，neither指在兩個(gè)相反的選擇之間不進(jìn)行選擇，或者對(duì)任何一個(gè)選項(xiàng)都不滿意。在他藝術(shù)中，我們可能會(huì)看到諸如峽谷、漢字、裂縫、身體器官、肌肉、肉體、宇宙圖像和火山等等。

《無(wú)題2018-1》（Untitled2018-1） 180x100cm，2018 紙質(zhì)、水墨設(shè)色 ink and wash on paper

宋小松說“火山噴發(fā)造就的紋理總是在我的藝術(shù)中反復(fù)”。這種形式的生命動(dòng)力也為他的藝術(shù)留下了空間和想象——正如藝術(shù)家所說，“是被神秘所操控”。藝術(shù)家在藝術(shù)中運(yùn)用的色彩也促使我們擁抱生命的活力。宋小松在他的畫作中通過單色以及忽明忽暗的光線表達(dá)，一些作品則添加些許顏色進(jìn)行點(diǎn)綴，例如紅色，他聲稱紅色可以賦予空間活力，而藍(lán)色和棕褐色，就像“泥土”一樣，將他的藝術(shù)變的更加“接地氣”，但也更加神秘。

《無(wú)題2018-7》（Untitled2018-7） 180x100cm，2018 紙質(zhì)、水墨設(shè)色 ink and wash on paper

對(duì)于小松來說，每種顏色都有自己特定的表達(dá)。他喜歡中國(guó)的宣紙，通過“雕刻”宣紙來表達(dá)藝術(shù)創(chuàng)作，從而形成他在法語(yǔ)中所說的“mouvements mouvementés”（“動(dòng)蕩的運(yùn)動(dòng)”），進(jìn)而增強(qiáng)藝術(shù)生命的活力。藝術(shù)家的“非也”十分特別，當(dāng)我們（參觀者）站在他的作品前觀察時(shí)，我們會(huì)去思考生命中的縫隙與裂痕。對(duì)于瓦爾班諾夫來說：“我們都是多元的；我們內(nèi)心都具有多元性”。

宋小松堅(jiān)持認(rèn)為，他的藝術(shù)旨在促進(jìn)與參觀者之間的溝通，以及情感的交流。他甚至分享了他最喜歡的一句話，即“創(chuàng)造藝術(shù)而不是戰(zhàn)爭(zhēng)”，這是他構(gòu)建跨文化橋梁的使命與任務(wù)，在某種程度上是通過他的家族歷史發(fā)展起來的，作為個(gè)體和藝術(shù)家無(wú)時(shí)不刻不在體現(xiàn)。

——Fred Dervin（文德）教授，芬蘭赫爾辛基大學(xué)

Neither – Phénix Varbanov’s new exhibition at ICI-LABAS 

Phénix Varbanov studied at the Ecole Nationale Supérieure des Beaux-Arts in Paris (France) and at the Chinese Art Academy in Hangzhou. He has also worked at the Chinese Central Academy of Fine Arts in Beijing, where he developed a strong interest in the traditional Chinese technique of ink on paper. His art production already dates back several decades and has been based on the use of different techniques (painting, drawing, installations and photography), showcasing intersecting influences from (at least) three different cultures: Bulgaria, China, France. In English, neither is a word used to describe something that does not belong to or satisfy any of two or more alternatives. It refers to a situation where there are two choices or options presented, but the subject in question falls outside of both possibilities. Neither thus refers to a non-selection between two contrasting choices, or the absence of satisfaction with either option. Neither seems apt to describe Varbanov’s personal artistic endeavours, demonstrating some kind of lack of commitment to a particular choice, affiliation, or preference. In the art, we might see the work of an energetic force through what some of us might see as (randomly) ravines, Chinese characters, crevices, technologically enhanced pieces, body organs, muscles, flesh, videographies of universes and planets, volcanoes, etc. Phénix maintains that he “constructs in a volcanic magma. It is always becoming in the back and forth of the materials and textures I employ in my art”. This form of vital impetus leaves space to the mysterious and the magical too, according to the artist – ‘the mysteriously controlled’, he adds. The colours that the artist makes use of in his art also urge us to embrace the vital impetus of life. Phénix expresses himself by means of the monochrome, as well as deep and shadowy lights in his paintings. He has also added a few colours to some pieces such as red, which he claims dynamizes space, blue, and sepia, an ‘earthy colour’ which turns his art into some kind of wilderness, see outer space environments. As a tactile artist, he also likes to play with the Chinese rice paper (to ‘tame’ it), sculpting it a bit, forming what he calls in French ‘mouvements mouvementés’ (‘tumultuous movements’ in English), adding some depth to the vital impetus of the art pieces. Although some visitors might think that Phénix’s ‘neitherness’ is very special, meditating in front of his art, they can also interrogate their own neither… nor… identities, attempting to look into the interstices and crevices of the pieces. For Varbanov: “We are all multicultural; we all have plurality inside of us”. Varbanov insists that his art is meant to initiate communication, care and emotional/intellectual enrichment in and amongst the visitors. He even shares his favourite slogan, ‘make art not war’, hinting at the mission of the intercultural mediator, somewhat developed through his family history, that he takes very seriously as a person and an artist.

——Prof. Dr. Fred Dervin, University of Helsinki, Finland

Phénix Varbanov 宋小松

FORMATION

1988/Dipl?mé de l'école Nationale Supérieure des Beaux-Arts, P/Mention TB

1988年/畢業(yè)于“法國(guó)”國(guó)立高等美術(shù)學(xué)院，評(píng)分優(yōu)秀

聯(lián) 展

2019/時(shí)空和靈魂之旅/承德/中國(guó)

2019/靈感/Galerie Art-Des畫廊/北京/中國(guó)

2018/融合/ On gallery/北京/中國(guó)

2018/抽象的復(fù)蘇/大皇宮畫廊/巴黎

2016/第七天空/聲音畫廊/普羅夫迪夫/保加利亞

2014/雙重接觸/Espace FCF畫廊/巴黎

2006/中國(guó)國(guó)際畫廊展/La Bartesca-Masn畫廊/北京/中國(guó)

1998/SAGA 98/巴黎

1997/藝術(shù)收藏/庭院畫廊/北京/中國(guó)

1997/中國(guó)當(dāng)代藝術(shù)/貝爾維爾空間畫廊/巴黎

1997/一見鐘情/Espace Cardin卡丹空間/巴黎

1997/Saga 97/巴黎

1995/中國(guó)藝術(shù)博覽會(huì)/北京/中國(guó)

1993/亞洲藝術(shù)展/香港

1989/中國(guó)先鋒派繪畫/法國(guó)國(guó)立藝術(shù)學(xué)院/巴黎

1989/藝術(shù)雙年展/瓦爾納/保加利亞

1988/先鋒派四藝人/杭州/中國(guó)

1987/法國(guó)國(guó)立藝術(shù)學(xué)院/巴黎

1985年/十年后/皮埃爾·卡丹空間/巴黎

1995/政府公共收藏/法國(guó)巴黎經(jīng)濟(jì)及社會(huì)理事會(huì)

個(gè)人展覽

2023/香港M+博物館

2023/藍(lán)光/咖啡圖書館/巴黎/75004

2022/活墨/卡蒂埃畫廊/巴黎/75006

2022/創(chuàng)世紀(jì)/索菲亞文化部畫廊/保加利亞

2022/墨/隨機(jī)畫廊/巴黎

2021/Galerie Belle Beau畫廊/法國(guó)阿爾勒市

2021/創(chuàng)世紀(jì)/Le Petit Espace畫廊/巴黎

2019/命運(yùn)之線/中國(guó)文化中心/索菲亞/保加利亞索非亞

2018/墨印/藝術(shù)廣場(chǎng)畫廊/北京/中國(guó)

2018年/風(fēng)暴洋/西格蒙德·弗洛伊德文獻(xiàn)館/巴黎

2017年/邊緣現(xiàn)實(shí)/Galerie Arosita畫廊/索菲亞/保加利亞

2017年/靈魂鏈接/藝術(shù)廣場(chǎng)畫廊/北京/中國(guó)

2017年/路上的痕跡/Galerie Resonance畫廊/普羅夫迪夫/保加利亞

2016年/途中的痕跡/Galerie Raiko Aleksiev畫廊/索菲亞/保加利亞

2013年/風(fēng)水/巴黎國(guó)際藝術(shù)中心/巴黎

2012/Soylent譜/Espace Sarah Neiger畫廊/巴黎

2010/Body and Soul/Espace 1畫廊/巴黎

2008/多態(tài)/中國(guó)樓/巴黎

2008年/同樣的舊故事/龍畫廊/巴黎

2007/今日/今日美術(shù)館/北京/中國(guó)

2006/SOHO畫廊/北京/中國(guó)

2003/明斯基畫廊/巴黎

1998/Galerie Schweitzer畫廊/盧森堡

1997/中國(guó)之家/巴黎

1994年/Galerie BelleFroid畫廊/巴黎

1992/中國(guó)綜合征/中央美術(shù)學(xué)院/北京/中國(guó)

1989/彈性/巴黎東區(qū)音符學(xué)中心/巴黎

1988/法國(guó)國(guó)立藝術(shù)學(xué)院畫廊/巴黎

EXPOSITIONS COLLECTIVES

2019/A journey in time space and soul/Cheng De, Chine

2019/Inspiration / Galerie Art-Des, Pékin, Chine

2018/ Convergences / On gallery, Pékin, Chine

2018/Abstract recovery/On gallery, Grand-Palais, Paris

2016/Septième ciel / Galerie Resonance, Plovdiv, Bulgarie

2014/Double exposure / Espace FCF, Paris

2006/China International Gallery Exhibition/La Bartesca-Masn Gallery, Pékin, Chine

1998/SAGA'98, Paris

1997/Collection of Art/Court Yard Gallery, Pékin, Chine

1997/Art chinois contemporain / Espace Belleville, Paris

1997/Coup de c?ur/Espace Cardin, Paris

1997/SAGA'97, Paris

1995/China Art Expo, Pékin, Chine

1993/Art Asia, Hong Kong

1989/ Peinture chinoise d'avant garde / école Nationale des Arts

décoratifs, Paris

1989/Biennale des arts graphiques/Varna, Bulgarie

1988/Quatre artistes d'avant-garde / Hangzhou, Chine

1987/Galerie de l'Académie des Beaux-Arts, Paris

1985/Et dans dix ans / Espace Pierre Cardin, Paris

COMMANDES PUBLIQUES

1995/Conseil économique et Social, Paris

EXPOSITIONS PERSONNELLES

2023/Hong Kong M+Museum

2023/Rayon Bleu/La Cafeotheque/Paris 75004

2022/Living Ink/ Galerie Catier/Paris 75006

2022 / Genesis / Galerie du Ministère de la Culture (Sredets), Sofia Bulgarie

2022/Encres/Galerie L'Aléatoire, Paris

2021/Galerie Belle Beau, Arles

2021/ Genesis / Le Petit Espace, Paris

2019/Le fil du destin / Centre culturel chinois, Sofia, Bulgarie

2018/Ink instict / Art square gallery, Pékin, Chine

2018/Oceanus procellarum / Bibliothèque Sigmund Freud, Paris

2017/Edge of reality / Galerie Arosita, Sofia, Bulgarie

2017/Soul links/Art square Gallery, Pékin, Chine

2017/Traces on the way/Galerie Resonance, Plovdiv, Bulgarie

2016/Traces on the way/Galerie Raiko Aleksiev, Sofia, Bulgarie

2013/Feng shui / Galerie de la Cité Internationale des Arts, Paris

2012/Soylent spectrum / Espace Sarah Neiger, Paris

2010/Body and Soul / Espace 1shot, Paris

2008/Polymorphe / Maison de la Chine, Paris

2008/The same old story/ Galerie du Dragon, Paris

2007/Today/Today Art Museum, Pékin, Chine

2006/Soho, Pékin, Chine

2003/Galerie Minsky, Paris

1998/Galerie Schweitzer, Luxembourg

1997/ Maison de la Chine, Paris

1994/Galerie Bellefroid, Paris

1992/Syndrome chinois/Galerie de l'Académie des Beaux-Arts, Pékin, Chine

1989/ élastiques / Ets Phonographiques de l'est, Paris

1988/Galerie des Beaux-Arts, Paris