每年雙年展的頒獎典禮更是每位藝術人最關注的盛事，獎項從金獅獎 Golden Lion（最佳國家館/最佳藝術家獎）、銀獅獎 Silver Lion（最有前途的年輕創作者）、特別國家評審獎 Special Mention of National、特別評審獎 Special Mention 以及終身成就金獅獎 Lifetime Achievement。
Can “Socially Engaged Art” effectively bridge the gap between “art/society” and “NFT/crypto art”?
撰文者/photo credit：Gogo.W
近年來，以社會參與（Social Engagement）為核心的藝術實踐計畫，越來越常在世界各地發現它們的蹤跡，藝術創作者們以多樣化的身份跨界投入，作為探討「社會議題」與研究「當代藝術變遷」的媒介，進一步誘發公眾的「價值思維」讓大家思考藝術計畫的動機與目的，認同並主動成為「社會參與藝術」（Socially-Engaged Art）的一份子，讓非藝術的社會行為變成創作的一種形式。 In recent years, art practices centered on Social Engagement have become more and more commonplace around the world. Art creators have crossed borders in a variety of capacities to explore “social issues” and study “contemporary art changes,” further inducing the public’s “value mindset” to think about the motivation and purpose of art projects and to recognize and take the initiative to become a part of Socially Engaged Art so that non-artistic social behaviors can be turned into forms of creativity.
線上與線下「參與者」間的共通性 Commonalities between online and offline ‘participants’
社會參與藝術的兩大核心概念：「社區/社群」（Community）與「公眾/公共」（Public）。其中一部份以去除藝術家身份為主體的概念，強調以存在于相同空間、分享著相似的信念與觀點的特質，匯集這樣一群人在一起成為「藝術參與者」，共同為某一個具體的目標投入時間與心力為達成預想內的成果。 There are two core concepts of participatory art: “Community” and “Public”. One of these concepts is based on the removal of the artist’s identity, emphasizing the qualities of existing in the same space, sharing similar beliefs and perspectives, and bringing together a group of people to become “art participants”, who jointly invest their time and effort in a specific goal to achieve a desired result.
在這樣的背景之下，可以直接聯想到區塊鏈所倡議的「社群共識」(community consensus)，系統性建立了關於參與者的交易軌跡，當符合多數人的共識後，才得以延續物件的交易紀錄。其中加密貨幣（cryptocurrencies）去中心化的金融架構與不可逆的交易原理，完美的被應用於NFT（Non-Fungible Token）與數位藝術（Digital Art）的串連之中，從而衍生出新的藝術資產定義—加密藝術（Crypto Art）。系統架構運作的必然要素即為社群的力量，開發機能完善的資料庫機制，如果沒有人的使用就無法構成有效積極的交易體系。 Against this background, we can directly think of the “community consensus” advocated by blockchain, which systematically establishes the transaction trajectory of the participants, and only when it meets the consensus of the majority of the people can the transaction records of the objects be continued. The decentralized financial structure of cryptocurrencies and the principle of irreversible transactions are perfectly applied to the connection between NFT (Non-Fungible Token) and Digital Art, thus giving rise to a new definition of art assets – Crypto Art. The inevitable element of the system structure is the power of the community, and the development of a well-functioning database mechanism will not be able to constitute an effective and active trading system without the use of people.
「社會參與藝術」和「加密藝術」， 兩個同樣都是建立於「公眾認同」理念的線上/線下社群， 看似八竿子打不著的藝術導向，卻都凝聚著公眾的力量， 逐漸形成一種特殊的關係美學。 “Socially-Engaged Art” and “Crypto Art” are two online/offline communities that are also based on the concept of “public recognition”. Seemingly unrelated to each other in terms of artistic direction, they both unite the power of the public and gradually form a special aesthetic relationship.
LVGA/XY ASTRO FLOWERS
LVGA/XY ASTRO FLOWERS 是義大利/瑞士混血的視覺藝術家—尤里・卡塔尼亞（Yuri Catania）與其團隊構思的一項社會參與式的藝術計畫，2023年8月30日起，歷時13個工作天，投入超過150位藝術專業工作者以及自發性參與者（其中包含市民、學生以及民間組織志工等組成），在瑞士盧加諾（Lugano, Switzerland）國會宮（會展中心）的外牆上執行的大型裝置作品。 LVGA/XY ASTRO FLOWERS is a socially engaged art project conceived by Italian/Swiss visual artist Yuri Catania and his team. Starting from August 30th, 2023, lasted over thirteen days, more than 150 art professionals and spontaneous participants (including citizens, students, and volunteers of civic organizations, etc.) were involved in the execution of a large-scale installation on the facades Palazzo dei Congressi (Exhibition Center) in Lugano, Switzerland.
“Art will save the world” slogan with artist Yuri Catania, photo credit: Gogo.W
計畫標語—「Art Will Save The World藝術將拯救世界」作品靈感來自瑞士第一位登上太空的飛行員－克勞德・尼科里埃爾（Claude Nicollier）的宇宙觀，採用「Paste-Up黏貼」的街頭藝術技法，融合藝術家的美學思維與其過往的創作元素，藝術家結合主體對象「太空人」以及夜間拍攝的物件「植物花卉」構成畫面的3個架構。 The slogan of the project – “Art Will Save The World” is inspired by the cosmic vision of Claude Nicollier, the first Swiss astronaut in space. Adopting the street art technique of “Paste-Up”, it combines the aesthetics of the artist with elements of his past creations. The main subject “astronauts” and the objects “plants and flowers” photographed at night, which are making up the three structures of the picture.
以當週於會展中心舉行的NFT節為背景，藝術家深入探討當代的關鍵議題：Web3.0、區塊鏈、加密貨幣/藝術與元宇宙之間的交互作用，質疑自然與科技之間的關聯。太空人金色面罩觀望著恰尼公園（Parco Ciani），反射出作品與地景間的連結，符合3D視覺的空間編排，與多達1,500個紙花朵結合，呈現寬42公尺＊高8公尺的大型裝置作品。 Against the backdrop of the NFT Festival held at the Palazzo dei Congressi that week, the artist delves into key contemporary issues: Web 3.0, blockchain, cryptocurrencies/interaction between art and metaverse, and questioning the relationship between nature and technology. The astronaut’s golden mask looks out over the Parco Ciani, reflecting the connection between the work and the landscape, conforming to the spatial arrangement of 3D vision, and combining with more than 1,500 paper-made flowers to create a large-scale installation 42 meters wide * 8 meters high.
實踐社會參與藝術，成為其中一份子 Become a part of socially-engaged arts practice
筆者因為參與了盧加諾NFT節活動得以與這項藝術計畫串起連結，早在活動開始前，太空人早已乘著群花遍佈展會中心的外牆，從遠處觀看難以分辨是何種媒材與技法，強烈的黑白與彩色構成的3D視覺效果勾起我想要深入了解的好奇心，連續三天在會場外觀察藝術家與志願們分工合作的身影，偶爾藝術家也會停下動作與路過圍觀的民眾，親切地解釋計畫的動機並分享使用媒材的特性與原因，試圖拉近藝術與公眾的距離。 As a result of my participation in the NFT Festival in Lugano, I was able to connect with this art project. Even before the event started, astronauts were already riding on the flowers on the outer wall of the exhibition center, and it was hard to tell what kind of media and technique they were using from afar, but the strong black and white and colorful 3D visual effect aroused my curiosity to learn more about the project. For three consecutive days, I observed the artists and volunteers working together outside the venue. Occasionally, the artists would stop to explain the motivation of the project and share the characteristics and reasons for the use of the media with the passing onlookers, in an attempt to bring art and the public closer together.
作品完成前夕，筆者積極正向的態度成功讓藝術家留下深刻印象，並受邀請在最後一天實際參與計畫，過程當中與藝術家妻子Silvia Torricelli，同時為計畫背後除藝術家外最主要的執行者，以及數位志願者們交談，深切地感受到每個人單純支持藝術行動的心。即使是簡單的「剪貼行為」使用單純的媒材「紙張」與「膠水」也能夠將想像具體化，後期透過縮時攝影的拍攝，將13天的時間濃縮成60秒的畫面，藉由AI的技術未來將製成NFT贈送給所有參與計畫的人，藝術除了在這個宇宙時空留下足跡，更是在元宇宙中劃下一部分區塊。 On the eve of the completion of the artwork, the author’s positive attitude successfully impressed the artist and invited her to participate in the project on the last day. During the process, I talked with the artist’s wife, Silvia Torricelli, as well as the main implementers of the project besides the artist, and digital volunteers, and deeply felt everyone’s heart to support the art action. Even the simple act of “cutting and pasting” with the use of simple media “paper” and “glue” can materialize the imagination, and in the later stage, through time-lapse photography, the 13 days were condensed into a 60-second image, which will be made into NFTs to be given to all the participants in the future through AI technology, so that the art will not only leave its footprints in the universe and space-time but will also delineate a part of the meta-universe.
選擇「線上表格 Modulo Z」Domanda di verifica della sussistenza di una quota per lavoro autonomo e di certificazione attestante il possesso requisiti per lavoro autonomo 申請核實是否存在自雇工作職業配額以及證明具備自雇職業工作的要求。
The Red Warm Current over 2,000 ft. a.s.l 【Bivacco Bedin】
There is a magnificent mountain range “Dolomiti” in the north of Italy, which is a well-known ski resort in winter and a popular hiking paradise for mountaineers in summertime. The endless mountain range creates unforgettably beautiful scenery, especially in summer when walking on the mountain trails feels incomparably isolated, and the dazzling sunshine reflects on the stone walls of the forests, which gather the natural souls of Italy, France, Germany, Austria, Switzerland, and other countries together, and has the status of a World Natural Heritage Site.
Nestled among the peaks and overlooking the Dolomiti That beautiful but lonely Red hut [ Bivacco Bedin ] A campsite that even most Italians don’t know much about.
The Bivacco Bedin is located on a green plateau at an altitude of 2,210 ft. above sea level in the Pale di San Lucano. The area is famous for its magnificent peaks, grandiose mountain ranges, and spectacular natural landscapes. Originally built in 1977 by the Italian mountaineering group called Vicenza, in memory of one of their members Margherita Bedin, who died tragically on Gran Sasso Mountain. The hut is a simple and sturdy structure that offers climbers a place of rest and refuge away from the hustle and bustle of the city, with unparalleled panoramic views of the nearby mountains, cliffs, and valleys.
▌Information ▌
Starting Point
Pradimezzo, Cencenighe Agordin 870 ft.
Difficulty Level
Medium/High (recommended for experienced climbers)
Trail Type
Intermediate
Mountain Range
Pale di San Lucano
Map Trail
CAI 764 / 765
Altitude Difference
1,400 ft.
Trail Type Ecology
Uni-directional access
Time Required
5-6H
Altitude (above sea level=ASL)
870- 2,210 ft.
Best Season
Spring, Summer, Fall (Winter snow season can make paths impassable)
▎Bivacco Bedin ▎is a wooden structure made of two multi-sided geometric shapes, covered in customized metal panels, with windows that look out to the east and offer a breathtaking view of Dolomiti from inside the hut. The metal panels on the outside of the window frames can be manually covered in anticipation of the changing weather situations on the Peak, also allowing the hut to achieve a good protection mechanism and at the same time keep the indoor room warm when the temperature is low outside.
The interior is divided into two areas, “sleeping” and “public“, using wood as the main material. Sleeping environment, with nine beds to utilize the limited space effectively, each bed is equipped with warm blankets labeled in the direction of the head and feet, even if a boy who is over 180cm still could have a good rest. In the main public space, there including wooden polygonal table, wall benches, and built-in cabinets, on top of which there are materials and equipment contributed by mountaineers. Outside the house even added a rainwater tower, which can be used for emergency water is very convenient. A seemingly narrow building structure but has all the essential stuff that you need on the mountaintop.
Backpack 2：60-liter backpack, sleeping bag, water, hiking stove, gas canister, spare clothes (warm jacket, long-sleeved top, underpants, socks), food (fruits, ham, bread) notebook, snakes (biscuits, bananas), and garbage bag.
▌Unexpected Mountain Hut △ How to go ▌
We heard about this magical place from an 18-year-old Italian boy Alessio, after he highly recommended us to go there. we drove from Lago di Garda to the village of Pradimezzo, Cencenighe Agordin.
However, it was already past 4pm when we arrived, but since the weather report expected that there would be heavy rains that night, our simple tent would not be going to be able to withstand the situation, so in the end, we decided to head up to the mountain to avoid the worst weather.
Basically, the whole route was along Route 764 (Ambrosogn) and then connected Route 765 to Bivacco Bedin. We parked the car at the spot reserved for mountaineers (873 meters above sea level) and quickly packed up the necessary gear and supplies, and then we started to climb the mountain at around 5:00 p.m.
After passing through the village, the fork signposted n.764 (Ambrosogn) to the right, officially entered the multi-bends forest. luckily the late departure helped us escape the heat of the afternoon in comfortable weather that didn’t make us sweat all over our backs. The first 30 minutes were a quick warm-up, and the rate of breathing became more and more rapid for the climb around 1,400 ft.
Along the way, follow the red and white signs (a common sign for hiking routes in Italy), and occasionally you can see some small towers pushed up by rocks to assist hikers of the right direction.
After about an hour, the trail starts to cut down to the stream way (Rù del Torcol), which used to be connected to the wall by a suspension bridge, but a natural disaster in the fall of 2018 destroyed the bridge, only leaving some remains of a broken bridge, now it is necessary to carefully pass through the rocky rappel to continue the ascent.
Before passing the Malga D’Ambrosogn ranch, we would first pass an overgrown building (Casera del Torcol), and a well-maintained water point (the other location is about 20 minutes walk from the Bivacco Bedin), where we rehydrated and change out of our soaked clothes.
From the cool forest through the soft meadows and along the wide Val del Torcol, it takes an hour to reach the charming green basin of Malga D’Ambrosogn, which was renovated in 2009 and is being used as a campsite, where you can still see some hikers camping here time by time.
After leaving the deciduous forests, the vegetation became thinner and thinner, and as we entered Route n.765 we started to climb steeply up the gravel road, up over the sidewalk of Cime di Ambrosogn, and as the sky darkened with mist, we couldn’t help but scared that we would be walking up the mountain in the dark.
The climate in the mountains was so unpredictable that we didn’t dare to stop for a rest, fearing that we might encounter fog at some point. Instead, only can walk along the perimeter of the precipice, looking back from time to time at the breathtaking views of Monti del Sole and Valbelluna without being able to stop and admire them. Little did we realize that we were not far from our destination!
From here, we follow the winding southern face of the Prima Pala di San Lucano, the first altar of San Lucano, to the last section before the fog comes in, and at 9.30pm we reach the coveted finishing point: 【 Bivacco Bedin 】, situated on the high plateau of the Prima Pala, at an altitude of 2,210 ft., an excellent panoramic view, where you can stay overnight in a mountain hut, just as we did, or you can camp around the area for the night. In addition to staying at the hut like we did, you can also set up camp for the night in the surrounding area. (There were only two of us and two other young men and women in the hut that night.
Through the age-old photos on the wall, you can see the lonely but energetic Bivacco Bedin in spring, summer, fall, and winter, standing at the top of the mountain to provide shelter for the countless hikers, accompanying them every day.
We stayed on the mountain for two nights in total and encountered a variety of weather conditions. Being at the top of a cluster of mountains, the air currents mostly converge up the mountain walls, therefore, the thunder and lightning combined with the heavy storm on the first night made it difficult for all of us to fall asleep. On the second day, a short period of sunshine gave us a chance to explore the surrounding scenery and discover another trail that had been destroyed by an accidental fire, leaving behind a patchwork of gray and dead branches creating a distinctive look, with some beautiful flora and fauna that can only be found at high altitudes.
Under the warm and cozy temperature, we had yoga on one of the gentle stones, trying to get rid of the recent heavy stress and the high level of exercise on the first day. There was a thunderstorm + hail in the afternoon, and the rain brought away the clouds in the sky, giving us a chance to see the stars in the sky at night, even though the temperature was low, there was no way to stop the emotion brought by the bright starry sky.
On the day of the descent, I tidied up the hut took away the garbage, and rushed to leave before 10:00 a.m. I met two groups of 9 people in the middle of the journey. Although the descent was not as tiring as the ascent, the inclined gradient of the wet and slippery path required a high degree of concentration, and the carelessness of slipping and falling brought an immense amount of pressure on my knees and feet, and it took the same amount of time as the ascent (about 4.5 hours).
The lack of physical support during the endless climbs on the mountain hills brought me more and more discouragement and demoralization, but luckily my partner gave me great support and encouragement so I could make it to the top and cleanse my body mind spirit.
For those who love to explore the mountains and forests, it is recommended that you don’t miss out on this beautiful place and make sure to arrange a visit to Bivacco Bedin when you are in Dolomiti to experience a different kind of scenery.
▌Thoughtful Notes ▌ Regarding the contents of the backpack, because we were in a hurry we didn’t take photos of what they looked like. If you plan to spend a night in the mountains, we suggest you choose a lightweight medium-sized backpack (26-40 liters is more than enough) but if you want to camp there then you should include the weight of the tent. Don’t need too many items for the trip in summer and fall, if you have limited physical abilities just bring enough water for rehydration because there are two places where you could replenish the water supply.
There is no electricity supply in the hut, so everyone spontaneously prepares “candles” but we recommend you to use rechargeable headlamps, and “coffeepowder” (Italians are famous for their love of coffee, and there are mocha pots left behind by former hikers so that future hikers can easily quaff a hot cup of coffee).
Last but not least, as the old saying goes, take your own garbage down the mountain【No Trace in the Mountain Forest】! Remember, we have to pay attention to maintain the beautiful mountains and forests to share with others ^^.
Bivacco Bedin 山屋位於聖盧卡諾群峰 Pale di San Lucano，海拔2,210公尺一處翠綠高原上。該地區以壯麗的山峰、宏偉的山巒和壯觀的自然景觀聞名於世。最初於1977年由一個義大利登山組織建造，旨在紀念在大薩索山上不幸離世的一名成員瑪格麗塔・貝丁（Margherita Bedin）。這個山屋是一個簡單且堅固的結構，提供登山者在遠離城市喧囂的環境中休息和庇護的地方，可以欣賞到無與倫比的全景，包括附近的山脈、懸崖和谷地的壯觀景色。
大約1小時後，開始下切到溪流道（托科爾河支流Rù del Torcol），以前是經由一座懸索橋連接兩邊的山壁，2018年秋天一場天災將橋摧毀，殘留下一些斷橋遺跡；現在則是需要小心地沿著石塊拉金屬索通過，繼續爬升。
在經過Malga D’Ambrosogn牧場之前，會經過一棟雜草叢生的建築Casera del Torcol與一處維持良好的取水處（另一處是在距離Bivacco Bedin山屋20分鐘的山壁側取水點），我們在這邊補水更換濕透的衣物。
從涼爽樹林穿過柔軟的草地，沿著寬闊的 Val del Torcol 前進，1小時後抵達迷人的綠色盆地Malga D’Ambrosogn。【Ambrosogn】它在2009年翻修過，屬於一個緊急的露營地，可以看見還是有不少登山者在此露宿。
告別落葉林之後，植被變得越來越稀疏，進入765號路線開始陡峭的碎石路， 向上越過Cime di Ambrosogn的城牆，漸暗的天色伴隨著薄霧，我們不禁害怕將會摸黑上山。
山上的氣候變幻莫測，所以我們不敢停下腳步休息，深怕不知何時會遇到大霧，只能順著山壁周圍走去，不時回頭望向Monti del Sole和Valbelluna的令人驚嘆的景緻卻無法停下欣賞。那時的我們還不曉得，其實我們距離目的地已經不遠了！
從這邊開始，沿著聖盧卡諾第一祭壇Prima Pala di San Lucano蜿蜒的南段山壁走去，最後一段趕在大霧來襲前，晚上9點30分到達夢寐以求的終點：Bivacco Bedin，它位於Prima Pala的高原地上，海拔2,210公尺一個極佳的全景點，除了跟我們一樣在山屋留宿之外，也可以在周圍紮營過夜。（當天晚上山屋只有我們兩人與另外兩位男女青年）
“The shape reflects the disillusionment with social hierarchy and is made of Polish coins minted in brass from cement waste at construction sites. The total value of the coins used on the creation = [the poverty line] corresponds to the official statistics of Poland in 2021 (based on a family of four) .” ［2329,77/4, 2022］
對光的研究和時間的測量都是研究實踐的重要工具 the research on light and the measurement of time is the essential tools to investigate the practice.
藝術家們的創作靈感，大多數都來自於日常生活中的痕跡。 Most of the artists’ creations are inspired by the traces of daily life.
Mateusz Choróbski (Poland, 1987), through his subtle observation of the surrounding environment, extracted every aspect of things and transformed them into the source of the essence of his works, obtaining the necessary information and characteristics from the different material carriers. By deconstructing and analyzing the object, the artist touches on the artist’s acute perceptual experience and reconstructs a different visual vehicle, skillfully integrating the reshaped object with the characteristics of space and time, giving it a different direction of interpretation than before.
近年來不斷到各國進行展出，柏林・Another Vacant Space (2013)、波蘭貝托姆・Kronika Centre for Contemporary Art (2016)、波蘭華沙・Wschód Gallery (2019)等地，更是與義大利結下了深刻的緣分，分別在（2019）羅馬・La Fondazione、（2020) 佛羅倫斯・Edorardo Secci Gallery 舉辦展覽，同年受埃娃・卡恩博士基金會Dr. Kahán Éva Foundation 的邀請，在托斯卡尼中部作為三位藝術家之一，進行為期一個月的藝術駐村計畫。
Mateusz Choróbski, born in 1987 in Radomsko, Poland, now lives in Warsaw, Poland. He graduated from Poznan University of Arts and Warsaw Academy of Fine Arts.
He is a creator of multimedia, installation, performance art, and sculpture. He is influenced and inspired by the reality of society through the recycling of readymade building materials, which in turn brings multisensory works into a broad conceptual framework (everyday readymades, common objects, natural creatures). For the artist, the opposite of “effective art practice” should be “spatial concept” and “physical perception”.
In recent years, he has been exhibiting in various countries, such as Another Vacant Space (2013) in Berlin, Kronika Centre for Contemporary Art (2016) in Bertram, Poland, and Wschód Gallery (2019) in Warsaw, Poland, and has a deep connection with Italy, where he exhibited at （In the same year, he was invited by the Dr. Kahán Éva Foundation to be one of three artists in central Tuscany for a month-long residency program.
2020年，在佛羅倫斯・塞奇畫廊（Eduardo Secci Gallery）的展覽中，【一步之遙 A Step Away】透過轉換空間與物體之間主賓的關係，輕柔譜寫出一系列作品與展廳的音符節奏，加入自然界礦物和植物元素的特徵，再生合成出尋常主體，讓時間和物質自然發揮它們的作用，好像變奏曲一般不依循常態律動。然而，展覽當時卻受到新冠疫情的影響，參觀人次銳減僅維持短短數週，隨即結束展演。
In 2020, in the exhibition at Eduardo Secci Gallery in Florence, A Step Away gently composed a series of works and rhythms of the exhibition hall by changing the relationship between space and objects, adding the characteristics of natural mineral and plant elements, regenerating, and synthesizing the ordinary subject, allowing time and matter to play their role naturally, like a rhythm. It is like a variation of the normal rhythm. However, the exhibition was affected by the new epidemic and the number of visitors dropped drastically for a few weeks, and the exhibition was then closed.
三年過去疫情趨緩，同樣在義大利知名藝評、策展人—皮爾・保羅・潘科托Pier Paolo Pancotto的推波助燃之下，終於在米蘭・塞奇畫廊（Secci Gallery）的NOVO實驗空間以【捉迷藏 Hide and Seek】為題，開啟藝術家首次個展，並且同步於米蘭舊蒸汽工廠 Fabbrica del Vapore 轉型後的文創園區裡，啟動另一個特定的燈光裝置項目。
Three years later, the epidemic subsided, and with the help of Pier Paolo Pancotto, a renowned Italian art critic and curator, the artist finally opened his first solo exhibition at the NOVO Experimental Space in Secci Gallery in Milan under the title Hide and Seek. In parallel, another specific lighting installation project was launched in the transformed cultural and creative park of Fabbrica del Vapore, the former steam factory in Milan.
Mateusz Choróbski, exhibition view at Fabbrica del Vapore, Milano 2023. photo by Gogo. W
Mateusz Choróbski, exhibition view at Fabbrica del Vapore, Milano 2023. photo by Gogo. W
The relationship between two indoor and outdoor spaces, two ways of time movement, and daylight, is common to Mateusz Choróbski’s work itself. In the gallery, the objects flow with the clock, while the large installations on view at the Steam Factory flow against the clock. The former is a private space; the latter is a light installation in a public space. To move naturally between the two exhibitions, the only way to understand the intrinsic value and meaning of art creation is to analyze the concepts and thoughts behind the works, and to visit the site to feel the perceptual experience beyond the written narrative, so as to connect one’s own experience with the viewing experience.
Mateusz Choróbski, exhibition view at Secci Gallery, Milano 2023. photo by Gogo. WMateusz Choróbski, exhibition view at Secci Gallery, Milano 2023. photo by Gogo. W
On the opening night, we had the opportunity to meet the curators, artists, and enthusiastic art workers, and even if it was just a few minutes of conversation, it induced the passion and feelings hidden deep inside. The artist briefly explained that the large installation, located in the outdoor space, reuses the receding window glass of the old building, and mixes it with lighting installations to create a silhouette that resembles the top of the building, which you can’t find during the daytime, but when the sunset comes, it quietly appears in your sight, opening a dialogue with the environment every second.
初次到訪畫廊位於米蘭的空間，2米高的落地玻璃，大方消除空間的隔閡，［2329,77/4, 2022］這件裝置的標題來自錢幣的總和，由熔化金幣再製的複合媒材雕塑，數件高低之分的圓柱結構，連接著展間的地板與天花板。 空氣中充斥著一股淡淡的肥皂氣味，從形似工程中的木質結構雕塑系列［37 Old Road No.1/2/3, 2022］散發出，那是藝術家記憶中對家的嗅覺記憶。
When I first visited the gallery’s space in Milan, the 2-meter-high floor-to-ceiling glass generously bridged the space. [2329,77/4, 2022] The title of this installation comes from the sum of coins, a composite media sculpture made from molten gold coins, and several high and low cylindrical structures connecting the floor and ceiling of the exhibition space. The air is filled with a faint smell of soap, emanating from a series of sculptures shaped like the wooden structures in the project [37 Old Road No. 1/2/3, 2022], which are the artist’s olfactory memories of home.
［2329,77/4, 2022］［37 Old Road No.2, 2022］
3件運用鋼、玻璃與燈光構成的作品［Hide and Seek no.1/2/3, 2023］，柔和的光線透出氣泡霧面玻璃結構，照亮了昏暗的空間，塑造了鋼構的視覺輪廓，轉化材質的功能性，無聲無息突破舊有的表現力。
The soft light of the three works [Hide and Seek no.1/2/3, 2023], which use steel, glass, and light, illuminates the dim space with its air bubble matte glass structure and shapes the visual contours of the steel structure, transforming the functionality of the material and breaking through the old expression without a sound.
The lightness of the light shows us the social dilemma of being a Polish person, and the actual value issues brought out by the concrete economic situation, from the shallow to the deeper to see the real issues that exist in all corners of the world.
Mateusz Choróbski, exhibition view at Secci Gallery, Milano 2023. photo by Gogo. W
Mateusz Choróbski・Hide and Seek｜馬特烏斯・喬羅伯基｜捉迷藏 策劃人｜Pier Paolo Pancotto 展期｜即日起，至 2023年5月27日 地點｜米蘭・塞奇畫廊 Secci Gallery Milano、米蘭・舊蒸汽工廠 Fabbrica del Vapore 時間｜Fabbrica del Vapore：週一到週日 上午8點-下午9點 / Secci Gallery：週二到週六 上午10點-下午1點 、下午2點-6點，週日一公休 免費入場參觀
當初的記憶畫面仍然清晰，2015年末結束與人生第一家畫廊IP Gallery的工作關係，已非展商身份進入當年的台北國際藝術博覽會（2015 ART TAIPEI），那彷彿水面連續性的動態波紋，突然出現在純白展牆上，究竟是哪一間腦度大開的畫廊，以此般非傳統的陳設方式來展示藝術家的作品？有那麼一瞬間，我以為自己並不是在一個商業銷售場合，而是站在一個小型美術館內，仔細端詳展位說明牌後，「常青畫廊Galleria Continua」大概是在那時被寫進我的記憶光譜中。
Everything was so fresh and clear, in late 2015, when I had just finished working with my first gallery – iP Gallery and entered ART TAIPEI 2015 as a non-exhibitor, the dynamic ripples that seemed to be continuous on the water surface suddenly appeared on the pure white exhibition wall. “Which ‘genius gallery’ will present the artist’s creation in such an unconventional way?” For a moment, I thought that I was standing in a pocket art museum instead of a commercial venue. After carefully examining the booth description, “Galleria Continua” was probably written into my memory at that time.
In the last 7 years, I have visited them in various exhibition formats from Rome to San Gimignano, from Paris to Turin. I can feel the gallery’s pure preference and obsession with the art industry from space to space. However, everything is so natural and comfortable, with each planned visit, some unforeseen interludes often occur, and more than admiration and adoration, I am more fascinated by all the pains, sorrows, and arguments hidden behind each paragraph.
穿梭於時空之間美麗的事物
the Beautiful things that travel through time and space
如同希臘神話中的《克爾伯洛斯》三顆頭顱有著相同的目標，馬里歐・克里斯蒂亞尼、洛倫佐・菲亞斯奇、毛里齊奧・瑞吉洛（Mario Cristiani, Lorenzo Fiaschi, and Maurizio Rigillo）代表著常青畫廊的過去、現在和未來，是通往當代藝術未成形領土的守護者。縱觀藝文界，不論組織規模大小、策展團隊組成、展演主題形式，凡是牽扯到「合作」就不會是件容易輕鬆的事情，任何群體必定會有意見衝突的情況發生，無論檯面上是如何的光鮮亮麗，背後勢必是經歷過無數次的妥協與協商，學習與創新的過程存在著。
Just like Cerberus the figure with three heads in Greek mythology, Mario, Lorenzo, and Maurizio represent the past, present, and future of the gallery, the guardians of the unformed territory of contemporary art. Take a panoramic view of the art industry, regardless of the size of the organization, the composition of the curatorial team, or the theme of the exhibition, anything that involves “cooperation” is always not an easy task, any group is bound to have conflicts. No matter how successful and shiny it is on the table, it must have gone through numerous compromises and negotiations, learning, and innovation processes behind the scenes.
However, what are the real reasons for the perseverance of these people who are involved in this industry to stay on this thorny path of art and culture dissemination? Why has the art market could still be able to stand still in the impact of the economic situation in recent years? While purely business interests may be important, unique, and discerning qualities may be necessary. When it comes to the “nature of artistic value”, how to interpret and define it varies from field to profession, gender to age, identity to the role, and motivation to purpose will have different interpretations and criteria.
Visitor: “Quello che mi piace in Galleria Continua è che non ve ne frega di niente, andate avanti con le vostre convinzioni.” Mario: “Per dire la verità, a noi frega un po’ di tutto…”
記憶回溯三個月前，那是一個溫度驟降的夜晚，等待電腦載入幾週前到羅馬旅遊的照片檔案，當中就包含Galleria Continua 常青畫廊，位於羅馬瑞吉酒店一樓展示空間名為“Geometria delle Forme 幾何形式“的聯展影像。一個習慣性的動作，引導自己點擊進畫廊的IG，赫然發現隔一天在聖吉米尼亞諾（San Gimignano）的空間有一場開幕，當下的我立馬寫了封預約信寄到官網，查詢交通方式與時間、訂購車票，一切規劃僅在10分鐘內結束，換來的是因過於興奮而徹夜未眠的狀態。
Let’s rewind time back three months ago, it was a chill night when I was waiting for the computer to load the photo files from the disc of my trip to Rome a few weeks ago, images from a group exhibition entitled “Geometria delle Forme” by Galleria Continua, located on the ground floor of The St. Regis Rome. A habitual action led me to check on the gallery’s Instagram page while waiting, and I found out that there was an opening in San Gimignano the next day. I immediately sent a reservation letter to the gallery, inquired about transportation and time, and ordered a ticket. All the planning was over in just 10mins, and the result was a sleepless night due to the excitement.
San Gimignano, a town in the central hills of Tuscany province, is the cradle of the story of Galleria Continua, a small city-state known today as the “City of Art” that carries the ancient artistic heritage of centuries. Upon arriving at the Poggibonsi station I knew I was on the right track when I met the highly distinctive human structure installation by British sculptor Antony Gormley.
Michelangelo Pistoletto, an iconic artist of the “Art of Poverty” movement in Italy, you can glimpse his popular “Mirror” series even just standing outside the door; Anish Kapoor, the British sculptor who opened a big hole in the floor at Galleria Continua to install his work; Gu Dexin, the Chinese artist who sees the ” Banana ” as a form of imagery of original sin and explores the value of human faith through quantity and time by his concept installation; and which is indispensable, the person who indirectly induced Galleria Continua to expand its horizons in China and worldwide—the presence of Chen Zhen, a Chinese conceptual artist in France, and more than that.
《The Ability of Dream》 一展凝聚66位與畫廊合作過藝術家的作品，共同展示在聖吉米尼亞諾五處空間與公眾形成的沈浸式對話場域。
The exhibition “The Ability of Dream” gathers 66 artists who have collaborated with the gallery from the past and present, forming an immersive dialogue with the public in five spaces in San Gimignano.
當你步入這建構在這古老經典劇院內的當代畫廊，迎面而來的是種穿越時空的既視感。聖吉米尼亞諾的新劇院（The Cinema Teatro Nuovo）是過去當地社區非常熱門的據點，在閒置多年後，因緣際會在Lorenzo的提議之下，經過修繕與維護工程，成為了常青畫廊主要的展覽與辦公空間；位處於水井廣場（Piazza della Cisterna）上的展示空間僅與新劇院步行不到5分鐘的距離，串連起地域與時間的連結；兩處需要專人引導的室內空間，分別鄰近新劇院不到2分鐘的步行距離，白牆紅磚地的地窖環境，星級飯店的頂層區域，保留18世紀的室內設計原貌，簡約單純的格局間隔開每件作品的獨特風格。
When you step into this contemporary gallery built inside this old classic theater, you will be greeted with a sense of time travel. The Cinema Teatro Nuovo in San Gimignano was a very popular location for the local community in the past, and after years of inactivity, it was renovated and maintained at the suggestion of Lorenzo to become the main exhibition and office space of the Galleria Continua. Another exhibit space is located at Plaza Cisterna only need 5-minute walk from the theatre to the place. Other the two interior spaces, each requiring a guide, are both located less than a 2-minute walk from the theatre, one is in a white-walled, red-brick cellar environment and the other one is on the top floor of a high-class hotel, preserving the original interior design of the 18th century, with a simple layout that separates the unique style of each work.
《The Ability to Dream》同時也是由sky Arte和TIWI協同執行的同名紀錄片企劃，由三位創辦人｜馬里歐・克里斯蒂亞尼、洛倫佐・菲亞斯奇、毛里齊奧・瑞吉洛（Mario Cristiani, Lorenzo Fiaschi, and Maurizio Rigillo），作為旁觀者建構出的對話場域為主軸，匯集圖像、記憶和影像，穿插藝術家們、藝評家與整個工作團隊的訪問，流暢且鉅細彌遺地講述「常青畫廊」開辦至今32個年頭的豐富故事。
“The Ability to Dream” is a documentary project co-executed by sky Arte and TIWI, which also shared the same title with the Joint exhibition. It’s a collection of images, memories, and videos, which is interspersed with interviews with various artists, art critics, and the important team members of Galleria Continua. Within the main axis of the dialogues which were constructed by the three founders — Mario Cristiani, Lorenzo Fiaschi, and Maurizio Rigillo as spectators telling the amazing and incredible story of Galleria Continua in its 32 years of operation.
With an uninterrupted and continuous dynamic business model. Based on “Artist-Centered” as the origin of the gallery, hardly harvesting in the field of art and culture for decades, committed to devoting the role as a promoter and curator, and later become the pusher for the careers of many important artists in the whole worlds. What they value more is the quality of creations, maintaining a good relationship with the artists, and having a unique vision of creation itself. More than that, the most important thing is that they help the artists break through the difficulties and impossibilities on the way of creation and build a way of management exclusive to represent “Galleria Continua”.
Mario Cristiani has said in an interview: “The gallery was established with the intention of cultivating interesting and challenging contemporary art in the most unexpected places.”
The interesting thing about art is that it does not set limits to the shape of things, everything is possible! We will benefit from our different identities and roles when we face the creation of art. There are many times when the unconventional attitude can be an effective tool for dreaming, leaving behind the filter of a pre-determined stance, and stepping out of the social framework, and the values and meanings contained in the fruit of a stumble and wash may lead you to transform into something unexpected. They are not trying to define what “ART” is, but to experience the uniqueness of “Artistic Value” through their point of view that transcends Time, Space, Distance, and Form.
— 回到過去Back to the Future：聚焦於1960年代至今，當代藝術先驅們的專題項目，重新將藝術家帶回國際藝術對話的中心。由柏林藝文中心Haus am Waldsee館長—Anna Gritz、義大利獨立策展人—Balthazar Lovay共同策劃，10位藝術家（9間國際畫廊與1間義大利畫廊）。
2020年為因應新冠疫情造成的影響，展會將焦點投注於創建線上影音平台。【ARTISIMMA VOICE OVER】一項全新跨多媒體影音的企劃，今年在Fondazione CampagnIa di San Paolo合作贊助下順利執行，針對參與展會的所有藝術家與藝術工作者們進行廣泛的概述與訪問，透過「Podcase」、「頁面文字」、「採訪影片」等多媒體形式，提供豐富的深度報導，同時也讓其他地區的人有機會遠端參與展會。
今年展會概念為「變革性體驗」，主題核心取自美國哲學家 Laurie Anna Paul (L.A. Paul：耶魯大學哲學與認知科學教授) 2014年在牛津大學出版社發表的書籍文章中提出的概念，所謂「變革性體驗」能夠從根本上改變生活在其中的人，以一種對未知的視角面對，試圖引發一場理性預期的危機，嘗試觸發更多潛藏於各領域尚未被提出討論的觀點與互動。
Oroma Elewa, 2 prints on paper Baryta Hahnemuhle 315 g, mounted on dibond, 2022, Galerie In Situ – fabienne leclerc, photo credit: artissima
（left）Vasilis Papageorgiou, ceramic and steel, 2022, 56*36*2 cm, UNA, photo credit: artissima （right）Dala Nasser, Anemone, 2022, 227 x 202 cm, Lenzuola, federe, tinture a base di ibisco e anemone, cenere, sale, nastro, ossido di ferro, acqua piovana
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