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MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻

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MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

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杉本博司

色彩理论

玛丽安 · 古德曼巴黎画廊

2021年春

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“《光学》是一个用宝丽来相机创作的系列，拍摄了像牛顿的实验那样通过三棱镜折射的光线。随后宝丽来照片经过数字扫描，其中的瑕疵被处理掉了，色调也经过了调整。换句话说，我部分地借助了数字手段来消除视觉上的干扰因素。我心里很清楚地知道自己在用摄影创作绘画。”

——杉本博司，于京都市京瓷美术馆，2020年

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司 / 《光学068》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

玛丽安 · 古德曼画廊非常荣幸举办杉本博司在巴黎空间的第三次个展“色彩理论”，呈现艺术家最新的《光学》（Opticks，2018）系列。

这一组作品是艺术家用摄影将光线透过光学玻璃棱镜时折射出的色彩定格而成。

杉本博司 / 《光学031》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司 / 《光学052》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司 / 《光学025》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

该系列的标题取自牛顿1704年发表的著作《光学》（Opticks）。定格在宝丽来相纸上的每张摄影，其色彩体现了杉本博司对彩虹中最微妙的色调以及色彩渐变效果的兴趣，这些渐变色似乎相互杂糅，难以界定。杉本写道：

“每日观察棱镜折射出的光线，使我对牛顿的七色光谱产生了怀疑：的确，牛顿所说的‘红橙黄绿蓝靛紫’光谱清晰可见，但我同样辨识出了更多的过渡色，比如从红到橙和从黄到绿的各种不知名的颜色。”

杉本博司 / 《光学151》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

杉本博司 / 《光学069》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

杉本不仅阅读牛顿，还阅读歌德。在1810年出版的《颜色论》（Zur Farbenlehre）中，歌德从更感性的角度解释光学现象。杉本博司由此对色彩也产生了一种诗意和形而上的感知：“我既不像牛顿客观冷静的计算视角，也不似歌德充满感性的思考，而是用自己的摄影设备尝试走向一条中间之道”。艺术家提示我们，在东亚佛教中，“色”指物质世界，而其传到日语中后也有“空虚”或“天空”之意（色即是空）。杉本博司解释说：“总之，如果可见的色彩世界本质上是空虚的，那这个偌大世界就和天空的色彩一样，都是非物质的。”

杉本博司 / 《光学034》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

杉本博司 / 《光学094》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

杉本博司往往配合周围随机的环境条件而进行创作，使得每次的曝光都独一无二：

“我的一天从早上5: 30起床开始，第一件事是观察东方地平线预示的天气。如果清早便万里无云，“启明星”会在地平线的右上方闪耀。根据金星的亮度，我可以判断当天空气的能见度......然后我才准备好老式宝丽来相机，并给经过漫长冬夜后的底片提高温度。”

杉本博司 / 《光学250》，2018 / C print / 作品：119.4 x 119.4cm，装框：152.4 x 152.4cm

艺术家位于东京的工作室被设计成一个观察空间，在这里，他利用一个装有棱镜的装置，让光线通过棱镜。当光线以一定角度折射到一个表面上时，其中的颜色会被分裂并形成多色光谱，从而更易于彻底探索某一特定色调。“我可以把红色切割成无穷多种红。特别是在深色的底上，每一种红都显得妙不可言。并且，各种色彩本身在不断变化”，艺术家说到。

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司， “光学”展览现场，玛丽安 · 古德曼巴黎画廊，2021

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司， “光学”展览现场，玛丽安 · 古德曼巴黎画廊，2021

“这些是我第一次创作彩色摄影作品。每天早上，我在房间里制造这些彩虹然后进行拍摄。我深入这一光之地带然后按下快门，体会到了牛顿应该感受过的震撼和惊喜。这样的光轮廓模糊，没有形状。在某种意义上来说，它是纯粹的。这些渐变的光线从黑暗中浮现并开始变换。焦点模糊，因而产生了一种让人入迷或欣喜的感觉。”

——杉本博司，于京都市京瓷美术馆，2020年

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司， “光学”展览现场，玛丽安 · 古德曼巴黎画廊，2021

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司， “光学”展览现场，玛丽安 · 古德曼巴黎画廊，2021

视觉暂留现象是指当我们长时间盯着一种颜色看，再把目光移开时，会在几秒钟内看到相反颜色的余像。这一体验促使杉本探索虚无和色彩的矛盾：“......盯着这个世界太久，我们看到的是一个颠倒的世界。这更加让我认为‘形即是空’，且反之亦然。”

关于艺术家

MGG现场｜杉本博司借用牛顿光学理论探索色彩之空幻视频资讯 MGG 杉本博司理论现场 MGG 牛顿光学色彩之空幻巴黎空间目前法国政府崇真艺客

杉本博司

杉本博司1948年生于日本。自20世纪70年代以来，他主要从事摄影创作，同时也将表演艺术制作和建筑纳入到自己的多领域实践中。他的作品探讨的主题包括时间、经验主义和形而上学。他的作品被多家艺术机构纳入馆藏，包括纽约大都会艺术博物馆，纽约现代艺术博物馆，华盛顿特区国家美术馆，旧金山现代艺术博物馆和伦敦泰特美术馆等收藏。他的作品已集结成多本专著出版。杉本博司曾屡获国际知名大奖，其中包括：纽约国家艺术俱乐部摄影荣誉奖章，伦敦皇家摄影学会百年勋章，纽约野口勇奖，法国政府授予的“艺术与文学军官勋章”，高松宫殿下纪念世界文化奖，西班牙摄影与视觉艺术节奖和瑞典哥德堡的哈苏基金会摄影奖等。

Our Paris gallery is currently closed due to the national mandate.

Please enjoy our virtual preview of the exhibition.

HIROSHI SUGIMOTO

Theory of Colours

Galerie Marian Goodman

Spring 2021

“Opticks is essentially a series shot using a Polaroid camera, capturing the light that Newton refracted using a prism. The Polaroids were digitally scanned, flaws were cleaned up and the tone was adjusted. In other words, I resorted partially to digital means in order to erase the visual noise. In my mind, I was quite conscious that I was creating paintings using photons.”

— Hiroshi Sugimoto

Kyoto City KYOCERA Museum of Art, 2020

Galerie Marian Goodman is delighted to present Theory of Colours, the third solo exhibition by Hiroshi Sugimoto in Paris. The exhibition will focus on his new body of work, Opticks.

Opticks, 2018, was created by capturing the photographic transcription of colors as revealed when light passes through an optical glass prism.

The title of this series is a reference to Sir Isaac Newton’s treatise Opticks, published in 1704. Preserved on Polaroid film, the colors of each photograph convey not only Sugimoto’s interest in the most subtle hues of the rainbow, but also those colors which embody a transition, which appear to be mixed or hard to define. Sugimoto writes:

Gazing at the bright prismatic light each day, I too had my doubts about Newton’s seven-colour spectrum: yes, I could see his red-orange-yellow-green-blue-indigo-violet scheme, but I could just as easily discern many more different colours in-between, nameless hues of red-to-orange and yellow-to-green.

Sugimoto is not only a reader of Newton, but also of Johann Wolfgang von Goethe. In his Treaty of Colours (Zur Farbenlehre), published in 1810, Goethe described optical phenomena from a more sensitive point of view, prompting Sugimoto to develop a poetical and metaphysical perception of color “with neither Newton’s impassionate arithmetic gaze, nor Goethe’s warm reflexivity, I employed my own photographic devices toward a Middle Way.” Thus, the artist reminds us that in East Asian Buddhist doctrines, the word ‘colour’ refers to the materialistic world, while its Japanese transcription both signifies ‘emptiness’ and ‘sky.’ “To sum it up” cites Sugimoto, “if the visible world of colour is essentially empty, then this world is as immaterial as the colour of the sky.”

Sugimoto often works in synergy with arbitrary environmental data making each exposure unique:

My daily routine saw me rise at 5:30 every morning. First thing, I would check for hints of light dawning above the eastern horizon. If the day promised fair weather, next I would sight the ‘morning star’ shining to the upper right of the nascent dawn. Depending on how bright Venus appeared, I could judge the clarity of the air that day- (…). Only then did I ready my old Polaroid camera and start warming up a film pack from the long winter night chill.

In his studio in Tokyo, designed as an observational space, Sugimoto uses a device equipped with a prism through which the light passes. When the colour spectrum hits a surface at an angle, its continuum can be decompressed, facilitating a complete exploration of a particular hue. “I could split red into an infinity of reds. Especially when juxtaposed against the dark, each red appears wondrous unto itself. Moreover, colours change constantly.”

“These are the first color photographs that I have made. I made these rainbows in the room and shot them every morning. I entered into this zone of light and shot, while recreating the feeling of shock and surprise that Newton must have felt. This light had no shape or form. In a certain sense, it was pure. These were gradations of light that emerged out of the darkness and began to shift. Nothing is in focus, so there is this feeling of ecstasy or rapture.”

— Hiroshi Sugimoto

Kyoto City KYOCERA Museum of Art, 2020

The phenomenon of retinal persistence tells us that, after staring at a single color, we will see an afterimage of the opposite color for a few seconds when we glance away. This experience inspired Sugimoto to explore emptiness and the contradictions of color: “…look too long at this world and we see an inverted world. It makes me think all the more that ‘form is emptiness’ and vice-versa.”

About the artist

Hiroshi Sugimoto was born in Japan in 1948. Since the 1970s, he worked primarily in photography, eventually adding performing arts production and architecture to his multidisciplinary practice. His work investigates themes of time, empiricism and metaphysics. Sugimoto’s work is held in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; and Tate Gallery, London; among many others. His work has been the subject of numerous monographs. Sugimoto is the recipient of the National Arts Club Medal of Honor in Photography; The Royal Photographic Society’s Centenary Medal; Isamu Noguchi Award; Officier de L'ordre des Arts et des Lettres; Praemium Imperiale Award for Painting; PhotoEspaña Prize; and the Hasselblad Foundation International Award in Photography, among others.

正在展出 I CURRENT EXHIBITIONS

N E W Y O R K

GIUSEPPE PENONE

9 MARCH - 17 APRIL 2021

WILLIAM KENTRIDGE

MAKING PRINTS: SELECTED EDITIONS 1998-2021

16 MARCH - 17 APRIL 2021

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