北美館公告
http://www.tfam.museum/20_News/News_List.aspx?MessageID=153
專文摘譯自本期ARTFORUM.com Critics' Picks單元
公告日：2009/5/12
截止日：2009/7/12
類別：國際媒體報導
入口處由尼可拉斯．普桑的”阿卡迪亞牧羊人”投射在大型穿廊流蘇的屏幕上，觀眾撥簾而入。24隻栩栩如生的羊群站立在長滿青草的地上，不遠處一片蔚藍天空。佛朗索瓦-札維耶‧拉拉尼1968年天然羊皮、金屬、木材雕塑，有頭羊10隻、無頭羊14隻。
展覽就由普桑的阿卡迪亞牧羊人，緊接著札維耶‧拉拉尼的羊群揭開序幕，這個命名為阿卡迪亞世外桃源的展覽特別以俄羅斯雙人組杜柏薩斯基及維諾葛拉多夫2002年的作品”草地上的午餐 “來畫上句點，大型的繪畫將塞尚、莫內、畢沙羅等人群聚在曠野的草地上與模特兒、各式各樣的野生動物們，彷彿是在舉辦一場倘佯在夏日午後草地上的午餐。
本展策展人迪迪耶．歐登傑選擇83件烏托邦式的作品有素描、電影、油畫等，42位藝術家的創作。包括著名的法國藝術家(布拉克、馬諦斯、畢卡索等) ，當代象徵性繪畫藝術名家(巴爾蒂斯、杜菲、夏爾‧拉畢格、馬科姆‧莫利、馬夏爾‧雷斯等)，加上奇特的抽象繪畫杜布菲的作品都在阿卡迪亞展覽行列裡。快樂的吃、做愛、享樂般的活、但是你不必養小孩、讀書、寫作或工作。馬克斯‧恩斯特的“法蘭西花園 “(1962)似乎娓娓道出這個展覽的主軸意識：一個斜躺的裸女是屬於大自然的。波納爾沐浴時的裸背、亞伯‧瑪爾凱兩女友、畢卡比亞女人與鬥牛犬，畫布上只有裸身的女人，並沒有互補的男人，呈現著絕對的歐風式的烏托邦理想國。和諧與感官享樂當然有它的代價，緊接著有安德瑞亞‧吉爾斯基的99分錢、艾瑞克‧費雪的怪異的公園一隅，第二號、現實生活的面向仍然是藝術家關心的話題，除了有趙無極，他1948年就離開中國，這個展覽完全沒有中國人或是中國，一種在視覺藝術裡強烈的阿卡迪亞傳統。----大衛‧卡立爾
專文摘譯自本期ARTFORUM.com Critics' Picks單元
Taipei
“Arcadie: Dans Les Collections du Centre Pompidou”
TAIPEI FINE ARTS MUSEUM
181, ZhongShan North Road, Section 3
April 25–July 12
Beginning with Poussin’s The Arcadian Shepherds, 1638, projected onto a macramé partition in front of François-Xavier Lalanne’s Troupeau de moutons (Flock of Sheep), 1968, this thematic exhibition closes with the enormous Le Déjeuner sur l’herbe, 2002, by Vladimir Dubossarsky and Alexander Vinogradov, which depicts Cézanne, Monet, and Pissarro in a crowded landscape populated with model and animals.
Exhibition curator Didier Ottinger presents eighty-three utopian drawings, films, and paintings by forty-two artists. Some famous French figures (Braque, Matisse, and Picasso) and a host of intriguing contemporary figurative painting (by Balthus, Raoul Dufy, Charles Lapicque, Malcolm Morley, and Martial Raysse), along with some marvelously odd abstractions by Dubuffet, are included. In Arcadia, you eat, make love, and live in leisure, but you don’t raise children, read, write, or work. Max Ernst’s Le Jardin de la France (The Garden of France), 1962, spells out the one central organizing theme: A reclining naked woman is nature. That the female nudes by Bonnard, Albert Marquet, and Picabia lack male counterparts reveals the limitations of such European utopian thinking. Harmony and voluptuousness have their price. But by showing contemporary reality, Andreas Gursky’s 99 Cent, 1999, and Eric Fischl’s Strange Place to Park n. 2, 1992, suggest that this tradition remains of living interest to painters. Apart from Zao Wou-ki, who left his native country in 1948, no one here is Chinese. Yet China, too, has a strong Arcadian tradition of visual art.
— David Carrier
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