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.
Loris Cecchini 《漣漪－未同步的情感 Wallwave Vibration-Asynchronous Emotion》, Galleria Continua, 2015 ART TAIPEI, photo credit: © ART TAIPEI 台北國際藝術博覽會
時隔7年，造訪過畫廊各式各樣的展覽形式，從羅馬到聖吉米尼亞諾，從巴黎到杜林，皆能感受到空間與空間之間充斥著畫廊對於藝文產業純粹的偏愛與執著，很多時候都會懷疑這倒底是不是間「畫廊」！但一切卻是如此的自然與舒服，隨著每一次有計畫性的探訪，過程中往往會發生一些難以預料的插曲，比起無比的欽佩與崇拜，更多是著迷於隱藏在每段故事背後的辛酸苦辣。
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
2022, Exhibition view Galleria Continua, Roma. photo credit: ©Gogo.W
2022, Exhibition view Galleria Continua, Paris. photo credit: ©Gogo.W
2022, Art Fair view of Galleria Continua, Paris+ par Art Basel, Paris. photo credit: ©Gogo.W
2022, Exhibition view Galleria Continua, San Gimignano. photo credit: ©Gogo.W
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.
Mario Cristiani, Maurizio Rigillo and Lorenzo Fiaschi, photo credit: © Riproduzione riservata
但究竟是什麼樣的理由，這些從事藝文產業的人們能夠鍥而不捨，堅持走在藝術文化傳播這條荊棘路上？為什麼藝術市場在近年整體經濟局勢衝擊的影響下，還能夠以不同的姿態屹立不倒？單純的商業利益或許重要，獨具慧眼的特質也許是必需，然而回歸到「藝術價值的本質」這回事，如何去解讀並定義它，相對於不同專業領域、性別年紀、身份角色、動機目的等角度就會有著程度上的差異與判讀標準。
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.
參訪者：「我們之所以喜歡 常青畫廊 正是因為你們不在意任何事情，而單純堅持著你們的信念！」
馬里歐：「說實話，或許正好相反那正是因為我們在乎所有事情…」
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.
“The Ability to Dream” documentary Premiere Symposium. photo credit: ©Gogo.W
“The Ability to Dream” documentary Premiere Symposium. photo credit: ©Gogo.W
Galleria Continua &
San Gimignano
一個為處於托斯卡尼省中部山丘上的城區—聖吉米尼亞諾（San Gimignano）是 常青畫廊 Galleria Continua 故事的搖籃，今天這小小的城邦被稱為「藝術之城」乘載著數個世紀以來古老的藝術遺產。那天抵達波吉邦西站時（Poggibonsi），當我見到英國雕塑家—安東尼・葛萊姆（Antony Gormley）極具特色的大型人體裝置時，我就知道我正走在對的路上。
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.
義大利「貧窮藝術」運動代表性藝術家—米開朗基羅・皮斯特萊托（Michelangelo Pistoletto）站在門口外即可瞥見他那廣為人知的「鏡面」系列作品；曾在常青畫廊的地板上開了一個大洞設置作品的英國雕塑家—安尼施・卡普爾（Anish Kapoor）；將「香蕉」視為原罪意象的形體，透過數量與時間去探討人類信仰價值的中國藝術家—顧德新；其中更是不可缺少，間接地促使常青畫廊前進中國開拓視界並和世界接軌的主因，旅法中國概念藝術家—陳箴的作品等。
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.
Michelangelo Pistoletot, Color and Light, 2017, juta, mirror, gilded wood, 5 elements: 180 x 120 cm each unique wor. photo credit: ©Gogo.W
Gu Dexin, 2007-01-13 2007, photo diptych, marble column, cast iron vase, diptych: 125 x 151 cm each; column: 50 x 50 x 85 h cm; vase: Ø 80 cm, 75 h cm, 47 x 47 cm base. photo credit: ©Gogo.W
Chen Zhen, Les Textes de la lumière / La Lumière des textes, 1992, Metal, glass, neon, red pigment powder, earth, objects, red adhesive letters, 190 x 140 x 31 cm. photo credit: ©Gogo.W
Loris Cecchini – Waterbones (Sensitive Chaos) 2022, Special Project, exhibition view Galleria Continua, San Gimignano. photo credit: ©Gogo.W
Hans Op de Beeck, Pond (circular 300), 2013, glass, wood, polyster, polymide, coating, 15*300*300cm. photo credit: ©Gogo.W
Antony Gormley, SUM, 2012, Cast iron, 22*201*51cm. photo credit: ©Gogo.W
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.
畫廊不間斷且持續動態的經營型態，以「藝術家為本」的初心，多年來在藝術文化領域用心耕耘，致力於扮演推廣者與策展人的角色，並成為世界上多位重要藝術家的幕後推手。他們看重作品質量、與藝術家維持良好合作關係、獨具慧眼，更多的是協助藝術家突破創作路上的困境與不可能，建構出專屬於「常青畫廊」的經營之道。
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”.
馬里歐（Mario Cristiani）曾在訪問中表示：
「當初成立畫廊的初衷，即是在最出乎意料的地方培育出有意思且具挑戰性的當代藝術。」
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.”
如果方向對了就不怕路長，有了目標夢想就不遠，藝術有趣的地方就在於它並不會對事物的型態設限，凡事皆是可能的！當我們每個人在面對藝術創作，我們會受益於各種不同的身份角色。有很多時候，拋開預設立場的濾鏡、跳脫社會框架，非常規的應對態度可能也能夠成為做夢的有效工具，歷經跌跌撞撞洗滌誕生的果實，其中富含的價值與意義或許會帶領你蛻變成意想不到的樣貌。常青畫廊並不去嘗試定義「藝術」為何，而是藉由他們的角度來體驗超越時間、空間、距離和形體，對於「藝術價值」的獨一無二。
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.
撰文者：王雪靜/ Copywriting: Gogo.W
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