Palm Gallery將於3月舉辦海外新銳藝術家聯展「Ouverture,À l'inconnu」(序曲．致不知名者)，集結來自法國、美國、智利、英國、韓國、瑞典等六個國家的八位藝術家所帶來的精彩作品。法國哲學家居伊・德波（Guy-Ernest Debord）在1967年出版的《景觀社會》 （La Société du spectacle）中提出：「景觀並非一個圖像集合（ensemble d’ images），而是人與人之間的一種社會關係，通過圖像的仲介而建立的關係。 」（註1）此次群展將從不同層面對藝術家的創作進行剖析，討論他們與眾不同的視覺敘事。
景觀社會的形成，不僅是價值觀和消費層面的控制，它也對人產生了異常苛刻的機械審美，這點與Oli Epp試圖在繪畫中探索數字時代的焦慮；消費主義和消費導致控制和成癮的主題息息相關，極度光滑的畫布妄圖模仿螢幕，玩弄表面的物理性；不甘困於景觀社會的固定美感之中，Laure Mary創造了一個交織著溫柔、天真、暴力而血脈噴張的世界，她勾勒出不存在於世的畸形動物，講述支離破碎的古老敘事。
藝術家Oli Epp。圖/Palm Gallery提供
藝術家Laure Mary。圖/Palm Gallery提供
日漸趨一的當代社會，人們對美的事物逐漸相同，關於人和內在的精妙之處也漸被埋沒；熱衷於人物肖像畫的Tom White並不是對人物進行逼真的描繪，而是探索如何利用顏料的物質性來刻畫人物的性格，達到畫皮也畫骨的真實性。Katherine Bradford用飽含情緒的色彩勾畫關於個人、家庭、群體之間的暗潮湧動，波光粼粼的畫布可以是星空如撒的銀河，也能是人世間紛紛擾擾的渺如塵埃。Minyoung Kim悄悄地在畫布上揭露她隱藏內心的真摯情感，尤其那些難以言喻的心情。溫和的筆觸敘述著諷刺又奇幻的冒險，同時帶有一些女性化的可愛元素。Daniel Fleur的畫布像是一扇窗，連接著每個人心中的私密視角，他對於手部的描寫更加出迷，手可以看出一個人的身分階級、年紀和性別，觀者猶如躲在暗處觀察的窺視者，用別樹一幟的方式「參與」畫面中的另一人生。Lucile Gauvain竭力探索真實與虛幻的主題。受電影故事和動態影像的啓發創造超越現實的虛構世界，在非傳統空間中描繪普通人的互動，將超現實主義元素融入作品。
藝術家Tom White。圖/Palm Gallery提供
藝術家Katherine Bradford。圖/Palm Gallery提供
藝術家Minyoung Kim。圖/Palm Gallery提供
藝術家Daniel Fleur。圖/Palm Gallery提供
藝術家Lucile Gauvain。圖/Palm Gallery提供
如果美和景觀成為外在的冠冕，而忘卻事物的本質和過程，即是把景觀降低為瑣碎冗餘的身外之物。Marco Bizzarri通過繪畫、裝置和錄像來處理記憶和紀念等問題，通過深入研究圖像語言的物質性，創作出模糊且曖昧的全新語境，懷舊的氛圍籠罩在傢俱和窗景的街道上。
景觀社會屢次成為啟發藝術家的哲學議題，不管是其文本或延伸的概念都已各不相同的方式影響著藝術家，這次帶來的18件作品也希望藉由哲學思考的力量，重新啟動人與記憶、人和群體之間更為深層的情感。
藝術家Marco Bizzarri。圖/Palm Gallery提供

Palm Gallery will host an international joint exhibition “Ouverture,À l'inconnu”featuring emerging artists from around the world in March. The exhibition will bring together nine artists from six countries, including France, the United States, Chile, the United Kingdom, South Korea, and Sweden, showcasing their captivating works. In his 1967 publication "The Society of the Spectacle" (La Société du spectacle), French philosopher Guy-Ernest Debord proposed, "The spectacle is not a collection of images but a social relation among people, mediated by images." This group exhibition will analyze the artists' creations from various perspectives, discussing their unique visual narratives.
The formation of the society of the spectacle involves not only control over values and consumer aspects but also imposes an unusually strict mechanized aesthetics on individuals. This is evident in Oli Epp's exploration of anxiety in the digital age through painting. Themes of consumerism and consumption leading to control and addiction are closely related, as the ultra-smooth canvas attempts to mimic screens, playing with the physicality of surfaces. Unwilling to be confined to the fixed aesthetics of the society of the spectacle, Laure Mary creates a world interwoven with tenderness, innocence, violence, and vibrant storytelling. She outlines deformed creatures that do not exist in reality, narrating fragmented ancient tales.
In today's increasingly homogenized contemporary society, people's perceptions of beauty become gradually uniform, overshadowing the subtleties of individuals and their inner selves. Tom White, passionate about portraiture, doesn't aim for realistic depictions of individuals but explores how to portray characters' personalities using the materiality of paint, achieving authenticity in both appearance and essence. Katherine Bradford uses emotionally charged colors to depict the underlying currents between individuals, families, and communities. The sparkling canvas can represent a galaxy scattered across the night sky or the swirling tumult of the human world. Minyoung Kim quietly reveals her sincere emotions hidden within, especially those difficult to express feelings. Her gentle strokes narrate ironic and fantastical adventures, infused with some feminine and cute elements. Daniel Fleur's canvas is like a window, connecting to the intimate perspectives within each person's heart. His fascination with depicting hands adds depth, as hands reveal a person's social status, age, and gender. The viewer becomes a voyeur, observing from the shadows, participating in another person's life in a unique way. Lucile Gauvain strives to explore the theme of reality and illusion. Inspired by film stories and moving images, she creates a fictional world beyond reality, portraying interactions of ordinary people in non-traditional spaces, incorporating surrealistic elements into her works.
If beauty and spectacle become external crowns, forgetting the essence and process of things reduces the spectacle to trivial and redundant externals. Marco Bizzarri addresses issues of memory and commemoration through painting, installations, and videos. By delving into the materiality of image language, he creates a blurred and ambiguous new context, enveloping the streets with nostalgic atmospheres of furniture and window views.
The society of the spectacle has repeatedly become a philosophical issue inspiring artists, influencing them in various ways through its texts and extended concepts. The eighteen works presented in this exhibition aim to rekindle deeper emotions between individuals and memories, as well as between individuals and communities, through the power of philosophical contemplation.

註1：The spectacle is not a collection of images, but a social relation among people, mediated by images.

“Ouverture,À l’inconnu” group show
《序曲·致不知名者》 群展
參展藝術家 :
Katherine Bradford
Marco Bizzarri
Oli Epp
Daniel Fleur
Lucile Gauvain
Minyoung Kim
Laure Mary
Tom White
展覽日期：3/23 - 4/13, 2024
展覽地點：台北市士林區士東路222號
官方網站：https://www.palmgallery.com.tw/