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Issue 48 (May/June) Colour is now available.

總第四十八期 (五、六月):色彩 現正銷售。

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PIPELINE issue 48 cover

Colour issue, editorial by Cristina Sanchez-Kozyreva

(中文請往下)

I received disparate reactions when I mentioned colours as a theme for this issue of Pipeline. Many of the artists I probed and tested stared past me disappointingly. Some told me straight out not to care about colours: “They are not important,” I kept hearing. It would appear that colour is the degenerate distant cousin of concept, archaic – colour had moment of its glory when painting as a medium did – and too shallow to talk about. And yet. In the very technical overview of colours A History of Color by Manlio Brusatin, from very scientific explanations of colour to Goethe’s theory of colour, we learn how its history is intricately intertwined with that of textiles; that until the mid-19th century, in Europe, wedding dresses used to be red; that palettes varied by religion: the discreet tones of protestant Rembrandt, the colourful ones of catholic Rubens; and about the chemical instability of green, which was made directly, and not as a mixture of yellow and blue, until the 17th century. The writings of Michel Pastoureau did much to flesh out and romanticise the subject. Dubbed the historian of colours by The New York Review of Books, he allocated individual volumes to Blue, Green, Black and so on. He points out, for instance, that blue was once considered a warm colour.

That colours are subjective things, interdependent among themselves and subject to our mood, was an evidence to Chinese artist Xu Bing, who made one of the most sensible cases for a lack of interest for colour. “A national colour? The one of your flag: red and yellow for China; red, white and blue for the US,” was his rather conventional view. He does, however, share his background with us: as always, Pipeline’s themes are great excuses to talk about an artist’s work.

Other artists found value in talking openly about their ambiguous relationship with colours. Such is the case for Chinese artist Chen Ching-Yuan in his rather technical writing about his works, the colours that drive them, how he elaborates his ideas, the difference between media and so on.

For this issue David Boyce writes about light and darkness, and shades of white, which seems to be characteristic of a photographer’s eye. On our back page, Ringo Bunoan swears only by black and white.

Performance artist of the extreme Nezaket Ekici has her favourite colours to work with, often related to the clothes she wears to perform. She explains the symbolism behind the red, white and other tones she uses.

In this issue’s Quicklines, artists comment on the importance of colour. Philippine painter Rodel Tapaya uses it instinctively and emotionally, while Beijing-based Zhao Yao evades the subject to focus onto his current concepts. Chinese artist Ma Ke touches on colour as a language of painting, while Dong Dawei, another Beijing artist, believes the use of colour is up to the artist, but ultimately the experience of it comes down to the individual.

We continue with Leung Chi Wo + Sara Wong’s series Museum of the Lost, as well as William Lim’s Diary of a Collection, in which he takes us through his experiences at this year’s Art Basel in Hong Kong.

Finally, in Reviews, in Hong Kong Caroline Ha Thuc takes a look at Rudolf Stingel’s show at Gagosian Gallery and Xu Longsen at Hanart TZ Gallery, and I review the multi-site project Moving Images by M+ at Midtown POP and the Cattle Depot Artist Village. Overseas, Ruyi Wong reviews the screening of Dream of Emerald Hill by Jennifer Lim at The Art House Singapore, Ysabelle Cheung visits Haegue Yang at Leeum, Samsung Museum of Art, Seoul, and I review Issay Rodriguez at 1335 Mabini, Manila.

 

當提到顏色作為《Pipeline》今期的主題時,我得到不同的意見反應,我訪問過、試探過許多藝術家,他們都報以失望的眼神。有人直接告訴我不要斟酌顏色,因為「它們並不重要」,這句話我已經聽過許多遍了。這樣看來,顏色是不合時代和跟概念無甚關聯的遠親,而且說起來太過膚淺,但在很久以前繪畫作為媒介時,顏色曾有過舉足輕重的地位。然而。在Manlio Brusatin 所寫的《A History of Color》中,對於顏色有非常技術性的概述,它從科學的角度及至歌德的論述來論顏色,讓我們認識顏色的歷史是如何與的歷史交織在一起。書中提到歐洲直至十九世紀中葉,婚紗禮服都是紅色的;提到因不同的宗教背景而運用不同的顏色,例如:新教徒Rembrandt用沉穩不浮的顏色、天主教徒Rubens用色彩斑斕的顏色;提到關於綠色的化學不穩定性,直至十七世紀,綠色是直接由化學製成的,而不是由黃色和藍色混和而成的。Michel Pastoureau的著作確實充實了顏色這主題,並將它浪漫化。他分卷敘述藍色、綠色、黑色等的故事,並指出藍色一度被認為是溫暖的顏色,被《The New York Review of Books》稱之為顏色的歷史學家。

中國藝術家徐冰認為顏色是主觀的東西,它們相互依存,並受我們的情緒左右。在這麼多的藝術家之中,他代表對顏色的缺乏興趣提供一個最好的事例。他對顏色抱著傳統的看法,並告訴我:「民族顏色?以我們的國旗為例,紅和黃代表中國;紅、白、藍代表美國」,並與我們分享他的背景。《Pipeline》的主題往往是一個很好的藉口來避開談論藝術家的作品。

其他藝術家覺得公開談論與顏色的曖昧關係很有價值。在此其中,中國藝術家陳敬元寫了一些關於他的作品的技術性文章,講述顏色推動了這些作品的創作,而他又是如何闡述自己的想法、媒體之間的區別等等。

對這一主題,David Boyce嘗試光與暗,以及白色的陰影,似乎揭露攝影師的眼睛,如我們的背頁所示,Ringo Bunoan只信賴黑和白。

相反,表演藝術家Nezaket Ekici以她喜歡的顏色來創作,其作品經常聯繫到她表演所穿的服裝。她解釋紅色、白色及其他色調背後的象徵。

在《Quicklines》這環節裡,藝術家對顏色的重要性發表評論。菲律賓畫家Rodel Tapaya認為用色是一種本能,受情感驅動,而來自北京的趙要則有意不注意顏色,將焦點放在他目前的概念。中國藝術家馬軻談到顏色是繪畫的語言,對另一位北京的藝術家董大為而言,每一位藝術家對顏色的運用都不一樣,最終這只能歸結為個人經驗之談而已。

我們除了會繼續梁志和+黃志恆的《迷失博物館》(Museum of the Lost )之系列外,還會繼續林偉而的《收藏品的日記》(Diary of a Collection),由他來帶我們到今年在香港舉辦的巴塞爾藝術展。

最後於《評論》(Reviews),在香港,Caroline Ha Thuc評論了Rudolf Stingel在高古軒個展和徐龍森在漢雅軒畫廊個展。我亦評論了多站點的藝術項目:M+的《流動的影像》(Moving Images,它於Midtown POP及牛棚藝術村兩個場地舉行。在國外,Ruyi Wong到新加坡的藝術之家,評論Jennifer Lim的《翡翠山之夢》(Dreams of Emerald HillYsabelle Cheung到首爾三星美術館尋訪Haegue Yang,而我來到了馬尼拉的1335 Mabini畫廊, 評論Issay Rodriguez。