羅芙奧季刊第16期 Ravenel Quarterly No. 16 by Ravenel International Art Group

㘩Ⰱ嗄堺䄈恱⎯䄈䔳

The Art of Fashion Is Boundless and Borderless

| CONTENTS | 06

啟動新時代 A New Era Begins

環球展覽預告 Global Exhibition Preview

金色競逐羅芙奧達標 Ravenel’s Golden Prospects

林壽宇的白色低限魅力 Richard Lin (1933-2011) The Fascination of White Minimalism

時尚藝術無邊又無界 The Art of Fashion Is Boundless and Borderless

我們只是去吃一頓午餐 We Are Just Getting Lunch

澳洲廚神美味炫技 Peter Gilmore A Deliciously Talented Showcase by Australia’s God of Cooking

微型工藝脆弱的精緻 Minature Craftsmanship Fragile Exquisiteness

日本酒初探 Your First Sip of Japanese Rice Sake

機械美學大師─費爾南•勒澤 The Master of Machine Aesthetic – Fernand Léger

古根漢效應布里回顧展 The Guggenheim Effect Alberto Burri Retrospective

生活藝廊 Life Gallery

丁乙《十示 2002-1》（局部）2002 年壓克力成品布 140 x 140 cm 成交價：1,200,000 港元羅芙奧香港 2015 秋拍 DING Yi, “Appearance of Crosses 2002-1”, (detail), 2002, acrylic on tartan, 140 x 140 cm Price realized US$154,839. Ravenel 2015 Autumn Auction Hong Kong

| Chief Editor’s Note |

啟動新時代 A B

N e w e

E r a i

清酒的奧妙、澳洲廚神、微型工藝的炫技、

Followers and collectors of fashion and art

私人飛機的奢華等，美不勝收的全球蒐

also are happy to see the two incorporating

秘，讓您坐擁生活、享受品味。

each other, not to mention that in this ever-changing world, the sky is the limit!

進入新的時代，編輯群將持續提供豐富多元的藝術市場報導、精緻品味的時尚生

Art is supposed to be undisciplined and out of control!

活新知，歡迎讀者隨時反饋並給予指教，讓 Ravenel 季刊雜誌成為閣下書架上美好的收藏。

The content of this issue includes introductions to Richard Lin, the

Photo / Cartier

grandmaster of Taiwan ’ s minimalism, and Fernand Léger, the renowned French The world has bid farewell to the

artist known for his machine aesthetic,

calamitous and unfortunate 2015 , and

as well as essays on the exhibition of

送走了全球災難頻傳的 2015 年，迎向

welcomed a brand-new 2016 . On New

Alberto Burri at the Guggenheim Museum,

2016 全新的年度。元旦伊始，政府為台灣

Year ’ s Day, the government brought a

Japanese sake, a celebrated Australian

藝術拍賣界放送一項大利多，大幅調降藝

huge gift to the auction circle in Taiwan,

chef, the skills of mini crafts and the

品賣家所得稅，期許扶植藝術品拍賣市場，

greatly lowering the income tax of sellers

luxury of private jets. You will definitely

提升國際競爭力。而緊接著 1 月 16 日全

in the hope of boosting the market of art

savor the taste and enjoyment in life

球關注的台灣大選，政黨輪替，產生新政

auctions and increasing international

through these pieces on stunning and

府與新國會，翻轉了台灣的未來。無論你

competitiveness. Immediately following

breathtaking beauty around the world.

是否做好準備，新的時代已經到來了。

this news, on January 16 , a new government and legislature were elected

In this new era, the editors at Ravenel

第 16 期 Ravenel 季刊「時尚藝術」專題，

at Taiwan ’ s presidential and legislature

will continue to provide abundant and

掌握時代脈動的時尚設計師們，倚重藝術

elections. The new administration will

diverse reports on the art market, fashion

的創意與技藝，互相拉抬彼此，創造雙贏

change the future of Taiwan. Whether you

and taste. We look forward to receiving

為時尚、藝術注入新能量的案例，不勝枚

are prepared for it or not, a new era has

your feedback, and

舉。時尚或藝術的信徒們、收藏家們，多

arrived.

will continue

半也樂見這種火花的撞擊，更何況瞬息萬變的時代，Sky is the Limit，藝術早就該無法無天啦。

to strive to The 16

Ravenel Quarterly, with the

make Ravenel

theme “ The Art of Fashion, ” presents

Quarterly the

several cases about the fashion designers

best publication

本期的藝術家介紹了台灣極簡主義宗師

who have a strong grasp of the trends and

to collect on your

林壽宇、法國機械美學大師費爾南 • 勒

rely on the crafts of art to create scenarios

shelf.

澤、古根漢美術館布里回顧展、探索日本

where both fashion and art flourish.

總編輯

No. 16 Spring 2016

羅芙奧藝術集團台北辦公室

發行人王鎮華

Publisher: Arthur Wang

總編輯陳惠黛

Editor-in-Chief: Odile Chen

主編黃千洳

Managing Editor: Tiffany Huang

撰述編輯廖培娟

Editor: Claire Liao

10683台北市敦化南路二段76號15樓之2

電話：+886 2 2708-9868 傳真：+886 2 2701-3306 羅芙奧藝術集團北京辦公室 100020中國北京市朝陽區東三環中路1號

發行所羅芙奧股份有限公司

Published by Ravenel Ltd.

地址 10683台北市敦化南路二段76號15樓之2 Address: 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan

網址 ravenel.com

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Editorial Production: Likestudio Publishing Ltd.

電話 + 886 2 2708 - 9868

傳真：+852 2889-0850 羅芙奧藝術集團上海辦公室

地址 10692台北市忠孝東路四段222號13樓

200050中國上海市長寧區鎮寧路465弄 181號1幢2樓2E

Address: 13F., No. 222, Sec. 4, Zhongxiao E. Rd., Da’an Dist., Taipei 10692, Taiwan

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廣告服務專線 + 886 2 7730 - 8786 創刊 2012年5月

Advertising Service Line: +886 2 7730-8786

First issue: May, 2012

季刊 Quarterly

㘩Ⰱ嗄堺䄈恱⎯䄈䔳

The Art of Fashion Is Boundless and Borderless

JADEGIA玉世家頂級翡翠玉鐲。皓腕處，輕築隔江山色，雅韻風華，悠然淌現。玉質清透雅致，翠色濃似情、淺如詩，變化之間，有悠然靈動之美。

環球展覽預告 Global Exhibition Preview

2 3

1 1

飛行航行旅行 ─路易威登 Volez, Voguez, Voyagez – LOUIS VUITTON

巴黎大皇宮 The Grand Palais 2015 / 12 / 4 ∼ 2016 / 2 / 21 www.louisvuitton.com

Jerni Collection 古董玩具與火車 Holiday Express: Toys and Trains from the Jerni Collection

紐約歷史協會 New-York Historical Society 2015 / 10 / 30 ∼ 2016 / 2 / 28 www.nyhistory.org

Foster + Partners 特展：都市與建築的創新 Foster + Partners: Architecture, Urbanism, Innovation

東京森美術館 Mori Art Museum, Tokyo 2016 / 1 / 1 ∼ 2016 / 2 / 14 www.mori.art.museum

由 Olivier Saillard 策展，透過展示創辦人路易

紐約歷史協會展出被認為是全世界最大規模及

不管是倫敦暱稱為小黃瓜的 Swiss Re、北京國

威登家族成員、及歷來帶領品牌邁向未來的精

最全面的玩具藏品「Jerni Collection」。其中大

際機場、或是世上最高的斜張橋法國 Millau

英人才的貢獻，重塑品牌自 1854 年至今的精

部分模型製作於十九世紀末二十世紀初，精巧

Viaduct，成立於 1976 年、作品遍及 45 國的

彩旅程。由古董行李箱打頭陣，本展解構路易

逼真的珍藏型火車、橋樑、隧道、旋轉木馬、

國際級建築事務所 Foster + Partners，將於森美

威登最具代表性的美學元素、創新精神及精湛

摩天輪等，再加上穿著十九世紀服裝的人偶，

術館展出日本首度最大規模的 Foster + Partners

工藝共九個章節。

將西方傳統風情徹底展現於觀者眼前。

特展，看見建築與都市景觀的創新。

Curated by Olivier Saillard, this exhibition retraces LOUIS VUITTON ’ s great journey from 1854 until today, through depictions of the Maison ’ s founding members and those who create the LOUIS VUITTON of tomorrow. Opening with the antique trunk, it deconstructed most representative resentative of aesthetic ic elements, the spirit of innovation and craftsmanship ftsmanship total of nine ne chapters. chap ap pte ters rs..

The New York Historical Society exhibit puts on display the “Jerni collection,” which is considered the world ’ s largest and most complete toy collection. The majority of the toy models from the collection were produced in the late 19th century to the early 20th century, and an include intricately lifelike collector ’ s trains, bridges, tunnels, a carousel, and Ferris tr wheel. Along with dolls dressed in 19th century w costume, a complete view of the classical co Western landscape is laid out for viewers to see. W

Whether it’s from London’s Swiss Re which has been nicknamed Cucumber, the Beijing International Airport, or the world’s tallest cable-stayed bridge Millau Viaduct in France, these all exist as examples of Foster + Partners innovation in urban architecture and urban landscaping. Foster + Partners was established in 1976, and is a world-class architectural ﬁrm with completed projects in over 45 countries.

圖片提供圖

攝影

New-York Historical Society

Rudi Meisel

4 5

6 4

印度珍寶： Al Thani 珠寶收藏展 Bejewelled Treasures: The Al Thani Collection

倫敦維多利亞與艾伯特博物館 Victoria and Albert Museum, London 2015 / 11 / 21 ∼ 2016 / 3 / 28 www.vam.ac.uk 展示卡塔爾王室成員 Al Thani 收藏的 60 件私

Frank Stella 回顧展 Frank Stella: A Retrospective

紐約惠特尼博物館 Whitney Museum of American Art, New York 2015 / 10 / 30 ∼ 2016 / 2 / 7 www.whitney.org

森山大道 ─大道 • 東京 Daido Moriyama: Daido Tokyo

巴黎卡地亞當代藝術基金會 Fondation Cartier pour l’ art contemporain, Paris 2016 / 2 / 6 ∼ 2016 / 6 / 5 www.fondation.cartier.com

為 Frank Stella 三十年來美國首度大型個展。

森山大道，日本傳奇攝影大師。1960 年代藉

人珠寶作品。網羅十七世紀莫臥兒帝國時期珠

策展人 Michael Auping 說：「這裡也許有 40

由模糊和失焦產生的粗糙顆粒感，描繪現實中

寶，也包括融入印度和西方元素的當代設計珠

多個不同系列的作品，及多版本的繪畫和版

瘋狂與痛苦的作品，成功開啟嶄新視覺語彙。

寶，呈現印度珠寶在流行樣式和設計風格的演

畫。」不管是早期釉面油漆創作、或晚期對

本展曝光過去 20 年鮮為人知的彩色作品，及

變過程。

於材料與形式的實驗，總是領先人們三步的

卡地亞基金會委任的全新創作「狗與網襪」，

Frank！

彷彿從城市喧囂中擷取日常生活的片段。

This exhibit places on display 60 pieces of jewelry from the private collection of Al Thani, a member a Qatar’s royal family. The collection includes jewelry from the 17th century Mughal Empire, along with contemporary pieces which contain design elements from both the West and India, serving to demonstrate the evolution in design and popular styles of Indian jewelry.

This event is to be Frank Stella’s first largescale solo exhibition in the U.S. within the last thirty years. According to the curator of the exhibition, Michael Auping, “There might be up to 40 different series of works here, including multiple versions of his paintings and engravings.” Regardless of whether looking at his early glaze painting creations, or his later experimentations with different materials and forms, Frank has always been three steps ahead of everyone else!

Daido Moriyama is a legendary figure in Japanese photography. He invented a new visual language in his work from the mid1960s onwards. Frenetic and tormented, it depicted a reality that was grainy, blurry and out-of-focus. This exhibition reveals the littleknown color works from the past twenty years as well as the designated brand new creation of the Cartier Foundation, “ Dog and Mesh Tights”, which seemingly captures fragments of the daily life from the city’s hustle and bustle.

攝影

圖片提供 New York

Daido Moriyama, “Tokyo Color”, 2008-2015, C-print, 111.5 x 149 cm / 149 x 111.5 cm. Courtesy of the artist / Daido Moriyama Photo Foundation

Victoria and Albert Museum, London

2015 Frank Stella/Artists Rights Society (ARS),

金色競逐羅芙奧達標 Ravenel’s Golden Prospects 在緩步復甦的景氣之中，羅芙奧適時調整拍品策略，吸引資深藏家支持，新進藏家者眾，強健踏穩拍賣市場。 In the slowly recovering market, Ravenel was able to successfully maintain advanced collectors and drew in emerging ones by adjusting consignment and pricing strategies.

| Issue |

季拍賣囊括二十世紀華人大師、亞

朱德群的 1973 年作品《構成 NO. 535》

洲當代名家、現代新水墨以及西洋

以 1,800 萬台幣成交。早期留美藝術家朱

藝術。重量級拍品如趙無極、吳冠中、朱

沅芷罕見的《中央公園》以 900 萬台幣成

沅芷等指標性作品，草間彌生、黃柏仁富

交；丁雄泉黑底的藍色美女《在月光下親

饒趣味的雕塑令人眼睛為之一亮，大師紙

吻我》同樣以 900 萬台幣成交，為華人早

上作品適合收藏入門。羅芙奧台北藝術部

期現代藝術精品交出紅盤。現代水墨之父

總經理傅斐郡表示：「羅芙奧致力把關優

劉國松四聯屏風大作《宇宙即我心之二》

質的拍品，搭配準確的定價策略，讓我們

以 2,015 萬台幣易主，成為此次秋拍第三

更有競爭力。」

高價拍品。

本

羅芙奧香港推出的趙無極金銅色調經典

丁雄泉小尺幅紙上作品《貓》、常玉小

之作《7.12.69》以 1,240 萬港元成交，

尺幅水墨速寫《裸女》均以超過預估價五

眾望所歸成為本拍場最高價拍品。吳冠中

倍以上成交，可見小尺幅精品愈發受到藏

存世唯七件的《獅子林》之一以 528 萬港

家重視與喜愛。引發競價熱潮的還有台灣

元成交，為本拍場第二高價拍品。德國新

當代藝術家葉子奇《有相思樹林的陽明

表現主義藝術家安森 • 基弗大作《聖母

山》，以 1,560 萬台幣成交，再創藝術家

頌 • 至貞之母》拍出 288 萬港元的成績，

個人世界紀錄，其他葉子奇拍品更是趁勝

為本場第三高價。林壽宇早期小尺幅畫作

追擊，件件覓得買家。

《1959 年 11 月 23 日》掀起競逐熱潮，歷經 24 口出價，最終成交價高於預估價

熱門的日本當代藝術作品中，草間彌生

七倍，以 43.2 萬港元成交。奈良美智《失

《南瓜》畫作以高於預估價近兩倍價格，

眠夜坐著》則以高於預估價四倍的 36 萬

816 萬台幣成交；《南瓜》雕塑也以高預

港元成交。

估 552 萬台幣拍出出色成績，水彩《花》也在同樣熱度中落槌。奈良美智作品亦是

壓軸的羅芙奧台北「亞洲現代與當代藝術」，趙無極氣宇軒昂的金黃色畫作《24.09.99》以近 7,000 萬台幣易主；而同樣為法蘭西藝術學院院士 1

1. 趙無極氣宇軒昂的金黃色畫作《24.09.99》以近 7,000 萬台幣易主。 The price realized for the magnificent golden painting “24.09.99” by ZAO Wou-Ki reached US$2 million.

2. 草間彌生《南瓜》1991 年綜合媒材（單一件） 15 ( 長 ) x 12.2 ( 寬 ) x 28 ( 高 ) cm 成交價：5,520,000 台幣羅芙奧台北 2015 秋拍 Yayoi KUSAMA, “Pumpkin”, 1991, mixed media unique 15(L) x 12.2(W) x 28(H) cm Price realized US$168,911 Ravenel 2015 Autumn Auction Taipei

全數成交，實力堅強。

「尊釀雲集」成交總額一舉突破一億

檳 Dom Pérignon Rosé 2003 以 150 萬台

This season’s auction comprised

零六百萬台幣，創下羅芙奧藏酒拍賣史上

幣敲出本季葡萄酒最高落槌。威士忌酒藏

works from the Chinese masters, major

的新高紀錄，更穩坐台灣藏酒拍賣龍頭

部分延續春拍氣勢，日本威士忌擊出滿貫

contemporary Asian artists of the 20 th

全壘打，受到藏家

century, modern ink and wash as well as

們熱烈歡迎的麥芽

Western artistic styles. The collection

份與世紀年份名莊

狂人 MMA 金牌特

included important pieces by stellar

經典作品特別受到

區，以權威性的背

a r t i s t s Z a o Wo u - k i , Wu G u a n z h o n g ,

藏家青睞，亮點之

書與風靡全球品項

and Yun Gee, Yayoi Kusama and Poren

一的 Le Pin 禮鵬酒

創下百分之百的完

Huang’s fun sculptures, and high quality

莊 1979-1993 十五

美成交率。本季初

works on papers by renowned artists. “In

個年份垂直套組以

試啼聲的五個日本

addition to the support of the collectors,

141 萬台幣售出，

清酒品項全數敲出，

the success was also due to Ravenel ’ s

驚豔四座。法國勃

其中花薰光 Vintage

dedication to top quality and competitive

根地佳釀 DRC 作

2000 與磯自慢中取

pricing ” said Ms. Flora Fu, President of

品包含 Romanée-

35 更在藏家的支持

Ravenel Art Department Taipei.

地位。波爾多窖藏 1

拍賣結果顯示老年

Conti、La Tâche、與 Montrachet 等 58

禁止酒駕

酒後不開車安全有保障

下以超出高標許多的優異成績落槌。

個品項百分之百完售。美國當代藝術家 Jeff Koons 與香檳王 Dom Pérignon 聯手打造的雕塑作品《Balloon Venus》及粉紅香

The groundbreaking pieces presented at the Hong Kong auction to receive the

羅芙奧期望寒冬過後，與更多藏家一起迎春。

most attention from bidders were the classic Zao Wou-ki ’ s “7 . 12 . 69” , which

| Issue |

sold at US$1,600,000 and topped the results of the season, followed by Wu G u a n z h o n g ’ s “ L i o n Grove Garden ” selling at US$ 681 , 290 and Anselm Kiefer’s “Ave Maria, Mater Castissima ” which sold US$371,613. Richard Lin’s “23-November- 1959” generated a heated round of bidding competition amongst collectors and connoisseurs, it was eventually sold for over

the pre-auction estimates at US$55,742. Several spectacular works received many inquires before the auction, including Yayoi Kusama ’s “Bird”, selling at US$ 216 , 774 and Yoshitomo

1. Le Pin Virtical 1979-1993 15 bts 成交價：1,410,000 台幣羅芙奧台北 2015 秋拍 Le Pin Virtical 1979-1993, 15 bts Price realized US$43,040 Ravenel 2015 Autumn Auction Taipei

2. 葉子奇《有相思樹林的陽明山》 2007-2008 年卵彩油彩亞麻布 127 x 213 cm 成交價：1,560 萬台幣羅芙奧台北 2015 秋拍 Tzu-chi YEH, “Yang-min Mountains”, 2007-2008 tempera and oil on linen, 127 x 213 cm Price realized US$477,356 Ravenel 2015 Autumn Auction Taipei

3. 徐冰《讀風景系列》2001 年水墨尼泊爾紙 102 x 176.5 cm 成交價：1,560,000 港元羅芙奧香港 2015 秋拍 XU Bing, “Reading Landscape Series”, 2001 ink on nepalese paper, 102 x 176.5 cm Price realized US$201,290 Ravenel 2015 Autumn Auction Hong Kong

4. 朱德群《雪景》1985 年油彩水粉紙本 73 x 55 cm 成交價：1,440,000 港元羅芙奧香港 2015 秋拍 CHU Teh-chun, “Hiver III”, 1985, oil and gouache on paper, 73 x 55 cm Price realized US$185,806 Ravenel 2015 Autumn Auction Hong Kong

artist who studied in the US, was sold for US$ 275 , 398 . Walasse Ting ’ s “ Kiss Me under Moonlight, ” featuring a beautiful blue lady on a black background, was also sold for US$275,398. Dubbed “ Father of Modern Ink ” Liu Kuo-sung ’ s

large quadriptych “Universe in My Mind2” achieved US$ 616 , 585 .

Walasse Ting ’ s small work on paper, “ Cat ” , and Sanyu ’ s graceful ink-wash

sketch “Nude” both achieved sales price more than five times the estimates, showing the growing popularity of small, 1

exquisite works by renowned artists. Another hotly-bid lot was “ Yang-min

Nara ’ s “ Sleepless Night Sitting ” , selling

magnificent golden painting “24 . 09 . 99”

Mountains ” by Taiwanese contemporary

at US$46,452.

by Zao Wou-Ki reached US$ 2 million.

a r t i s t T z u - c h i Ye h . A f t e r r o u n d s o f

“ Composition No. 535 , ” a 1973 work

telephone and live bids, it was sold for

The “ Modern & Contemporary Asian

by Chu Teh-Chun, another member of

US$ 477 , 356 , reaching the artist ’ s world

A r t ” a u c t i o n i n Ta i p e i s a w s u p p o r t

Académie des Beaux-Arts, was knocked

record sale. Yeh ’ s other works were also

from experienced collectors as well as

down for US$ 550 , 796 . “ Central Park, ”

highly sought-after and all of them found

new ones. The price realized for the

a rare piece of work by Yun Gee, an

buyers.

禁止酒駕

酒後不開車

安全有保障

| Issue |

For contemporary Japanese art, Yaoyi

sculpture was sold for US$ 168 , 911 ,

Montrachet were all sold. “Balloon

Kusama ’ s painting, “ Pumpkin, ” was

also better than valuation price, and

Venus, ” a sculpture by American artist

sold for US$ 249 , 694 , which was twice

her watercolor “ Flower ” was sold after

Jeff Koons in collaboration with Dom

the valuation price. Her “ Pumpkin ”

intense competition. Yoshitomo Nara,

Pérignon, and a bottle of Dom Pérignon

another contemporary Japanese

Rosé 2003 was sold for US$ 53 , 800 ,

artist, also had all of his works

which marked the highest price among

sold.

the wines sold in this season. Continued

1. 丁雄泉《在月光下親吻我》1976 年壓克力畫布 102 x 152.5 cm 成交價：9,000,000 台幣羅芙奧台北 2015 秋拍 Walasse TING, “Kiss Me under Moonlight”, 1976 acrylic on canvas, 102 x 152.5 cm Price realized US$275,398 Ravenel 2015 Autumn Auction Taipei

2. 輕井澤 30 Years Old 侍 1~10 成交價：1,880,000 台幣羅芙奧台北 2015 秋拍 Karuizawa 30 Years Old Samurai 1~10 Price realized US$57,387 Ravenel 2015 Autumn Auction Taipei

3. 現代水墨之父劉國松四聯屏風大作《宇宙即我心之二》以 2,015 萬台幣成交，成為此次台北秋拍第三高價拍品。 “Father of Modern Ink” LIU Kuo-sung’s large quadriptych “Universe in My Mind-2” achieved US$616,585, the third highest lot sold at Ravenel 2015 Autumn Auction Taipei.

4. 維多 • 瓦薩雷利《藍色迴旋曲》 1958 - 1988 年油彩畫布 90 x 62 cm 成交價：1,110,000 港元羅芙奧香港 2015 秋拍 Victor Vasarely, “Tenger”, 1958 - 1988 oil on canvas, 90 x 62 cm Price realized US$143,226 Ravenel 2015 Autumn Auction Hong Kong

from a high note from Spring Auction, Finest & Rarest Wines Auction

Japanese whiskies received hundred

reached US$ 3 , 243 , 086 in total

percent sale through rate. Owing to its

revenue, setting a new record

authoritative endorsement and global

in the history of Ravenel ’ s wine

popularity, the Malt Maniacs Awards

auction. The results showed that

winners once again set the record

older and century vintage wines

of 100 % sold by lot. Japanese sake,

from Bordeaux were particularly

appearing for the first time in the

favored. A collection of 15

2015 Autumn Auction, also delivered

consecutive vintages with initial

remarkable performance with all 5 lots

production years ranging from

sold out.

1979 to 1993 from Château Le

Pin was sold for an astounding

Together with collectors, Ravenel

US$43,040. As for selected

looks forward to the end of a frigid winter

wines from Burgundy region, 58

and the dawn of a warm spring.

vintage wines from DRC including Romanée-Conti, La Tâche, and

RAVENEL SPRING AUCTION 2016 HONG KONG AND TAIPEI

INVITATION TO CONSIGN 拍品徵集 enquires@ravenel.com | ravenel.com

林壽宇的白色低限魅力 Text / Odile Chen 陳惠黛 Photo / Ravenel International Art Group、台北市立美術館、台北國立故宮博物院、家畫廊

| Art & Investment |

1.《現代畫浮雕雙聯作》1967-1968 年油彩畫布鋁 203.2 x 301.8 cm © 國立故宮博物院

“Modern Painting Relief Diptych”, 1967-1968 oil on canvas, aluminum 203.2 x 301.8 cm © National Palace Museum, Taipei

Richard Lin（1933-2011） The Fascination of White Minimalism

藝術家林壽宇服膺「減之又減，減無可減，以至於無」根源自中國極簡哲學內涵；「最複雜的，以最簡單的來表現」獨特又純粹的繪畫風格，千軍橫掃畫壇。 Simplicity is often the hardest thing to achieve. The deep wisdom contains in“Book of Changes”(@P 1PUN) is abstract and practical at the same time, a quality that Richard Lin placed at the heart of his art.

在白色的天地裡，無人能企及林壽宇。簡單，往往是最不簡單的。中國歷史上

林壽宇是現代藝術的先行者，回顧其一

最古老、最深奧、最神秘的一部思想典籍，

生，不凡的身世，卓爾不群的審美品味，

叫做《易經》。《易經》，被推為群經之首，

還有耀眼的藝術成就，也稱得上華人現代

群經之始。它蘊藏的智慧最抽象，卻也是

藝術家中的奇葩。1964 年他成為第一位

最實用。藝術家林壽宇服膺「最簡單的就

參加德國卡塞爾文件大展的台灣畫家，

是最複雜的，最複雜的事物要以最簡單的

1966 年國際重量級畫商馬博羅 • 新倫敦

方法來表現。」他終其一生固執地追求理

畫廊開始經紀代理他的作品，林壽宇得以

想美、極致美，在藝術的道路上走的是一

與多位戰後當代藝術大師齊名。而時至今

條杳無人跡的道路，有人尊稱他是「最後

日，台北國立故宮博物院唯一破例典藏的

的貴族」、「極簡主義大師」。林壽宇的美

現代藝術作品，也就是林壽宇的畫作（《現

學獨特純粹，傲氣過人，既高貴古典又富

代畫浮雕雙聯作》）。

現代感。

林壽宇的藝術思想根源自中國的哲學內涵，將繪畫的概念減之又減，減無可減，以至於無。他引述老子「五色令人目盲」的哲理，深悉「沒有色彩的傳統水墨是東方美術最高境界」，在現代藝術運動蓬勃的 1960 年代開展出樸素簡潔的「白色系列」禪意空間，他的藝術中蘊藏的東方思維，令西方藝術界大為折服。連二十世紀大畫家米羅都要當面讚嘆說「在白色的天地裡，無人能企及林壽宇。」

而當他將低限主義的前衛概念，隨著 1980 年代返國定居時，大大驚豔台灣藝壇，掀起所謂的「白色震撼」與「低限魅力」的旋風。在藝術生涯成熟巔峰之際，1984 年他突然宣布「繪畫已死」，從此封筆不再畫畫，轉向立體與裝置概念的探索。

1. 林壽宇在其工作室。藝術家家屬提供 Richard Pare Lin at work in his studio. Photographs by Richard Pare

2.《流-2》1959 年油彩紙 50.8 x 63.5 cm 藏家提供 “Flow-2”, 1959, oil on paper, 50.8 x 63.5 cm Private collection

霧峰林家望族之後，揚名世界畫壇。從年輕到晚年，林壽宇經常穿著筆直的

書香世家，家學淵源，自小就奠定了日後

圍。1952 年後轉往英國倫敦寄宿名校米

襯衫與白西服，180 公分的個子顯得高大

朝藝術發展的基礎。生活優渥不虞匱乏，

爾菲爾德學校。原本大學要讀航太工程，

挺拔，舉止帶有英國的紳士風範。年輕時

他曾自言小時候過著像「小小小溥儀」那

無奈入學考失利。1954 年進入倫敦綜合

火氣十足，說話鏗鏘有力，一副革命家的

樣的生活。童年時在台北受日本小學教

工藝學院（今西敏大學），研讀建築與美

姿態。即使到了老年時，還是腰桿挺直，

育，台灣光復以後畢業自建國國中，小時

術。個性好勝的他，坦言若做得不好就不

帶著一雙銳利眼神，幽默風趣，偶爾認真

家裡還養馬。十五歲時父親買了一輛紅色

做，十足少爺脾氣。但他不忘父親的教誨

地流露出創作時的不妥協與完美挑剔。在

別克汽車送他，他拉風馳騁在台北的表參

「要求得真正的學問」，在藝術的領域深

高雄市立美術館的五十年創作回顧展紀錄

道（中山北路），據說那部車的價格當時

究，仰不愧於天，俯不怍於人。

片裡，言談間他優雅地哼唱京戲，室內樂

可買下 25 甲的土地。疼愛他的父親還告

團演奏時，他還會充當指揮，跟著音樂搖

訴他，最好的車其實是英國生產的勞斯萊

1957 年左右，因家中的經濟支援中斷，

擺，看得出學養修為不凡，瀟灑的形象至

斯，答應等大學畢業後送他一輛。只是後

讓他開始思考能否靠賣畫維生。他拜訪了

今留在世人的心中。

來命運的轉折，父親的承諾沒能實現，這

多家倫敦的畫廊尋求機會。1958 年時受

個願望在數十年的一次畫展後，他終於為

到金貝爾 • 斐斯畫廊的青睞，留下他的作

自己也為故去的父親圓夢。

品，他回憶這段過往時，清晰地記得生平

林壽宇 1933 年出生於台中霧峰宮保第，

第一幅賣出的畫，只有 90 塊英鎊。1950

宮保第是台灣自清朝以來最大的官宅，霧峰林家官宦世家，權傾一時，直至日治時

早年家人擔心他因個性叛逆遭逢不測，

年代後期，他以 Lin Show-Yu 的名字闖盪

期仍為台灣五大家族之一。望族之後林壽

1949 年安排他隻身前往香港，在拔萃男

藝術界，金貝爾 • 斐斯畫廊也經紀他的畫

宇銜著金湯匙出生，家族長輩寵愛有加。

書院就讀中學，隔絕了白色恐怖的時代氛

作約三年的時間。

1963 年後他改用 Richard Lin 的名字，

在如趙無極這類的色彩堆疊、潑灑等抽象

這也是西方藝術界後來耳熟能詳的名字。

表現主義，幾何式的冷抽象，此時尚未形

林壽宇年輕時也曾經執教於英國著名的藝

成風氣。而林壽宇對低限藝術的追求，把

術學院，擔任皇家藝術學院的指導老師。

藝術用純粹性表達至淋漓盡致，大大影響

1966 年成為馬博羅 • 新倫敦畫廊的簽約

幾位年輕的藝術家，例如莊普、賴純純、

畫家，闖出一片天地，陸續在倫敦、羅馬、

胡坤榮與陳慧嶠，成為他們的宗師。這些

蘇黎世、布魯塞爾、科隆、法蘭克福等歐

以伊通公園為基地的藝術群，如今都是

洲大城市舉辦個展十餘次，作品為英國泰

台灣藝術界的精英人物，儘管林壽宇於

特美術館、義大利國立現代美術館、美國

2011 年仙逝，其藝術的影響力至今仍然

卡內基學會美術館等超過三十間國內外美

存在。

術館收藏，名列多本藝術名人錄。

他一生的創作曾獲獎無數，最具代表性的有：1961 年獲英國當代藝術學會勉勵獎、1966 年北愛爾蘭藝術管理委員會主辦舉行於首都貝爾發斯特，歐斯特美術館「全英國公開繪畫展」榮獲第一獎、1967 年獲美國匹茲堡卡內基國際美術展「威廉佛瑞紀念收藏獎」、1976 年獲威爾斯藝術管理委員會榮譽獎、1982 年獲頒義大利藝術大學名譽證書；而在他宣布封筆之後， 1985 年時以立體作品獲得台北市立美術館「中國現代雕塑展」首獎。

林壽宇與馬博羅 • 新倫敦畫廊的合作時間長達十年左右。在 1970 年代中期之後，畫廊老闆希望他能改變原本的極簡主義風格，轉換為當時美國風行的照相寫實主義畫風，遭到林壽宇的拒絕。後來老闆的一句「藝術家都像妓女」的氣話惹惱了他，火爆脾氣頓時發作，憤而掀桌離去，從此中斷了合作關係。藝術家的不妥協性格在此可見，他卻堅持做自己。一以貫之的簡潔與秩序感，不僅反映在自身的修養與外在裡，也反映在生活態度裡，畫室擺設像是軍隊內務般井然有序，畫筆、顏料整整齊齊，他偏好原始材料，不用合成物件，對他而言藝術沒有討價還價的餘地。 1980 年代林壽宇回到台灣舉辦個展，「白色系列」作品震撼台灣美術界。當時台灣藝術圈對抽象藝術的認知，多半仍停

1.《1959 年 11 月 23 日》1959 年油彩畫布 51 x 41 cm 成交價：43.2 萬港元羅芙奧香港 2015 秋拍 “Painting 5-January-1959”, 1959 oil on canvas, 152.4 x 127 cm Price realized US$55,742 Ravenel 2015 Autumn Auction Hong Kong

2.《我們的前面是什麼 ? 》1985 年鋼板 122 x 122 x 123 cm © 台北市立美術館 “What’s Ahead?”, 1985 steel boards, 122 x 122 x 123 cm © Taipei Fine Arts Museum

簡約冷靜，少即是多。旅居英國期間，正值二次大戰結束不

漸在畫面裡消融、簡化，冷靜、沒有情緒，

他追求與創造最單純絕對的形式，在看

久，現代主義風起雲湧，因為學習建築的

1960 年代他朝向幾何線條或形狀的「冷

似簡單的畫面構成，潛藏著複雜的思考脈

緣故，林壽宇早期受到兩位現代主義建築

抽象」發展，其「白色系列」將白色的層

絡。畫面呈現著迷人甚至近乎永恆的冷靜，

大師的啟發。一位是主張「少即是多」

次精準鋪陳、氣質凝練。林壽宇曾說「白

時間凝結在其中。台灣畫家莊普深受林壽

的路德維希 • 密斯 • 凡德羅（1886-

色是最平凡、通俗，讓人既舒服又不舒服，

宇的藝術啟發，他說林壽宇的畫面佈局宛

1969），另一位是柯比意（1887-1965），

是最神聖也最哀傷的顏色」。「白色本身即

如巴哈的對位法，和諧且雋永。「白色畫布

拒絕浮誇與繁複裝飾，認同原始的形體是

有許多色彩，其濃、淡、輕、重、透明、

上不同調性的白色橫條巧妙的安排，令人

美的形體，讚美簡約的幾何形體。

半透明……使白與白之間構成了許多形狀

屏氣凝神，其永恆、沒情緒、無止境、不

與形狀，空間與空間的玄奇奧妙！」

生不死，頗有中國水墨禪宗的意境。」

林壽宇曾說：「如果你想說感情、說故事，就去寫小說、拍電影，美術就是要做

林壽宇的「白色系列」令人聯想到，絕

其他藝術都達不到的形式，那是一種絕對

對主義的經典代表─俄國藝術家馬勒維奇

的邏輯。」他初期的創作，仍帶有抽象表現

的「白上白」，繪畫中的純粹感情或是至

主義的餘韻，以中國山水的精神，有水墨

高無上之意，白色是繪畫的最高喜悅。兩

滴流效果的「流系列」（1957-1959）來

位藝術家的藝術都有形而上的禪意。不過

詮釋，畫中帶有情緒、筆觸、色彩等線索，

林壽宇的白色思維與馬勒維奇的不同，馬

屬於「熱抽象」。1958 年也創作一批形容

勒維奇有其政治歷史的背景，簡化的表現

自然景象帶有具象標題如「浪濤」、「撥雲

在接近於零的內容表現，使虛無成為他的

見日」、「日蝕」、「黑森林」等抽象畫。

最高原則。而林壽宇的白色系列則是在於東方冥想的概念，表達老莊思想中「無」

其實，畫家並不認為自己的創作是抽象畫，他講求自然主義。後來可見的線索逐

與「空靈」，《逍遙遊》的禪學空間，他為文人畫中的留白賦予了後現代的意涵。

物稀為貴，藝術市場競相追逐的逸品。 1965 年 Arts Magazine 一篇《低限藝術》

由於林壽宇的畫作實在稀有，收藏家們

遲，可以預期他的藝術行情仍會繼續攀升，

文章中，第一次提出所謂「低限藝術」或

多半都抱持著惜售的態度。羅芙奧香港

成為許多收藏愛好們心中的夢幻逸品。

譯作「極簡藝術」。然而林壽宇的獨特創

2015 年秋拍一幅 1959 年早期小品，預估

作早於這個名詞之前，無疑的，他是一位

價僅 6 萬至 10 萬港元，十幾組客戶紛紛

先行者。1960 年代林壽宇在歐洲藝壇嶄

湧入競價，拍出 43 萬港元（US$55,742）

露頭角，對照也是聲譽漸隆的趙無極，兩

的佳績，為低預估價的七倍之多。這筆交

位華人藝術家前者用色簡約形式純粹、冷

易紀錄也擠進目前前二十幅最高拍賣價的

凝嚴謹，後者揮灑色彩、情感奔放。各自

林壽宇作品排行。

開展出不同的藝術視野。然而，林壽宇的創作數量相較於趙無極，抑或是朱德群，

日本具體派、韓國單色畫等抽象藝術，

顯得更為稀有，雖然目前尚未有統計其一

近幾年在全球藝術市場熱度延燒，林壽宇

生的作品數量，但在其五十年的創作生涯

的低限風格藝術，華人冷抽象的代表，他

中，1984 年後中斷繪畫轉向立體創作，

一生輝煌傲人的創作經歷，早就橫掃歐洲

再扣除二十年隱居於台中大里，減少發

畫壇，絲毫不亞於近期廣受矚目的日韓藝

表，一生的創作顯然非常珍貴稀有。

術幾位大師。兩岸三地收藏家們前所未有的默默尋覓林壽宇的畫作，隨著時間的推

2015 年藝術市場共有 14 組林壽宇的作品在拍賣市場現身，成交率百分之百，這個數字居歷年之冠，交易金額約 90 萬美元，近三千萬台幣，超過半數在香港市場締結。其次是北京和倫敦。據悉中國大陸收藏家對於林壽宇作品的熱愛追逐，超過台灣藏家或其他華人地區。而在 2000 年之前，林壽宇的畫作僅零星的出現在台北、歐洲或美國的拍賣市場。除了中港台兩岸三地之外，1960-1970 年代藝術家活躍於英國藝術界，倫敦拍賣市場或畫廊自然還是可以尋覓林壽宇作品的主要來源。 1982 年林壽宇返台展覽，三十年來曾經先後在龍門畫廊、春之藝廊、伊通公園、家畫廊等商業空間舉辦個展，近期則有台北的學學文創、家畫廊仍持續介紹他的作品，高雄市立美術館曾兩度盛大舉辦個展，包括 2015 年的遺贈展等。藝術家回憶生平第一幅賣出的畫只有 90 英鎊（約 252 美元），然而到了 2015 年最新拍賣行情是 184 萬港元（約 23.7 萬美元），不過在畫廊的私人洽購行情，已經開價超過兩千萬台幣（約 62.5 萬美元）。

1.《四》1968 年油彩鋁片畫布 63.5 x 63.5 cm 成交價：78 萬台幣羅芙奧台北 2010 秋拍 “Four”, 1968, oil and aluminum on canvas 63.5 x 63.5 cm Price realized US$25,717 Ravenel 2010 Autumn Auction Taipei

2.《紙上作品 #29-3》1957 年油彩紙 34 x 46 cm 藏家提供 “Drawing#29-3”, 1957, oil on paper, 34 x 46 cm Private collection

| Art & Investment |

In the Realm of Whiteness, There Is Only Richard Lin Simplicity is often the hardest thing to achieve. The oldest, most profound, and most mysterious of all the ancient works of Chinese thought, the “ Book of Changes ” ( Yi Jing ), is revered as the fountainhead of everything that followed, the first and most important of the classics. The deep wisdom it contains is abstract and practical at the same time, a quality that Richard Lin placed at the heart of his art, and verbally expressed as follows: “ The simplest things are the most

complicated ones, and the most complicated things need to be conveyed in the simplest fashion. ” Throughout his life, he stubbornly pursued “ ideal

and perfect beauty, ” always exploring new avenues and modes of expression

of Eastern aesthetic expressiveness. ”

that were entirely his own. This obsession

During the 1960 s, the heyday of the

with purity and originality, coupled with

modern art movement, Lin ’ s “ White

Richard Lin is one of the pioneers of

what many perceived as a somewhat

Series,” a collection of paintings breathing

modern art, a man whose distinguished

haughty aloofness, earned him monikers

the very conciseness and immediacy

background, exceptional aesthetic instinct,

such as “ the last aristocrat ” or “ master

of Zen, making a lasting impression in

and outstanding artistic career make him

of minimalism, ” and he continues to be

Western art circles, and even earning a

one of the most charismatic and intriguing

much admired for the blend of classical

great compliment from Joan Miró, the

modern Chinese painters. In 1964 , he

elegance and searing modernity that is the

eminent Spanish painter and sculptor, who

became the first painter from Taiwan to

deﬁning characteristic of his oeuvre.

declared that “ Lin is unmatched in the

have his work displayed at the Kassel

world of white color.”

Documenta in Germany, and in 1966 one

Lin’s artistic philosophy was rooted in

of three-dimensional and installation art.

of the leading international art dealers

the concepts and connotations of Chinese

When returning to Taiwan in the 1980s,

and showrooms, Marlborough New London

thought, a fact that led him onto the path

Lin similarly dazzled local colleagues and

Gallery, began to represent his work,

of ever-increasing simpliﬁcation, until he

critics with his avant-garde minimalism,

putting Lin in the same category as many

reached a state of emptiness: a point where

sparking a wave of admiration for what

other post-war contemporary masters. And

no further reduction was possible. In the

was termed “ the white shock ” and “ the

to this day, his “ Painting-Relief ” is the

Daode Jing , Laozi says that “ five colors

fascination of extreme minimalism. ”

only contemporary work to be part of the

dazzle the eyes, ” a notion that Lin very

Then, in 1984, at the height of his fame

Taipei National Palace Museum collection.

much agreed with, noting that “traditional

and success, he suddenly declared that

ink and wash painting, which is mostly

“ painting is dead, ” and thenceforward

black-and-white, marks the pinnacle

devoted all his attention to the exploration

Progeny of a Distinguished Family Who Becomes a World-renowned Painter Standing 180cm tall and always

broad learning and artistic depth, as well

the war, he graduated from Chien-Kuo

wearing a starched shirt and white suit,

as his suave manners and debonair air, are

Junior High School. When he was still

Lin was the spitting image of an English

all part of his lasting legacy.

a child, his family had been breeding horses, but for his fifteenth birthday, his

gentleman. As a young fellow, brimming

with energy and speaking with a powerful,

Lin was born in 1933 in Taichung, at

father gave him a red Buick as a gift, a

resonant voice, he resembled nothing

Wufeng’s Gongbaodi Mansion, the largest

car so expensive back then that you could

more than a revolutionist. Even in his

ofﬁcial residence in Taiwan since the days

have bought about 25 hectares of land for

later years, his perfectly erect posture,

of the Qing Dynasty. The Lins had been

the money. The young man would cruise

keen eyes, and witty, humorous attitude

an eminent family for many generations,

along Taipei’s Zhongshan North Road, the

remained unchanged only occasionally

and were still considered to be one of the

former Omotesand ƚ , and his father, who

would he show his more serious side,

island’s five most important clans during

was exceedingly fond of him, told him

and allow people a glimpse of the

the Japanese era. “ Born with a golden

that actually the best car in the world was

uncompromising and perfectionist self that

spoon in his mouth, ” he grew up in his

made in England, and promised his son

was at the core of his creative personality.

ancestral home under the love and care of

a Rolls Royce once he graduated from

In a documentary shown some years ago

his elders, who early on instilled in him a

university. However, fate intervened and

at the Kaohsiung Museum of Fine Arts

love of learning, art, and family tradition,

his father could never make good on that

retrospective titled “One Is Everything: 50

thus laying the foundations for his later

promise. So it was only decades later, after

Years of Work by Richard Lin,” he is seen

career. Lacking for nothing and knowing

a successful exhibition of his work, that

in free-flowing conversation, elegantly

no cares, Lin, in his own words, led the life

Lin was finally able to make his father’s

humming Beijing Opera tunes and

of a “little emperor, almost like Puyi.” He

dream a reality.

conducting a chamber ensemble, swaying

went to Taipei to receive his elementary

gently to the rhythm of the music: his

school education in Japanese, and after

| Art & Investment |

Afraid that his rebellious temperament

well, Lin always remembered his father’s

of just £90 . Gimpel Fils remained his

might get him into trouble as the events

admonition to “ seek real knowledge and

agents for three years, and it was during

of the White Terror period were unfolding

learning,” and his quest for perfection in

this period that the artist, then using the

in Taiwan, the family sent the 16 -year-

the arts certainly validated the hopes and

name “Lin Show-yu,” first burst onto the

old Lin alone to Hong Kong in 1949 ,

trust Lin Senior had for his talented if

art scene.

where he attended the Diocesan Boys ’

unruly offspring.

School. In 1952, Lin went to England as a

By 1963, he had changed his name to

boarding student at Millﬁeld School. After

Around 1957 , when financial support

“Richard Lin,” the moniker under which

failing to get accepted for an aerospace

from home dried up, Lin first conceived

he became – and remains – a household

engineering curriculum in 1954 , he

the idea of trying to make a living off

name in Western art circles. In his early

entered the Regent Street Polytechnic (now

painting, and consequently contacted many

years, Lin also taught at the Royal College

the University of Westminster) to study

galleries and showrooms in the London

of Art (RCA) in London, and in 1966

architecture and ﬁne arts. Ambitious and

area, seeking opportunities to promote his

he became a contracted artist with the

fiercely competitive, the young man also

work. In 1958 , he found favor with the

Marlborough New London Gallery. From

had a rather willful edge to personality,

Gimpel Fils Art Gallery, who was among

there on out, his career took off in earnest,

perhaps not unsurprising in someone who

the first to represent his paintings. Lin

and soon he was having solo exhibitions in

had been showered with affection and

once said that he could clearly remember

many European cities, including London,

attention from a young age. Determined

the moment when he sold his very first

Rome, Zurich, Brussels, Cologne, and

not to do anything that he couldn ’ t do

painting, for the comparatively small sum

Frankfurt, while his paintings were being acquired for the collections of more than

30 different galleries and museums around

the world, including the Tate Gallery in London, the National Gallery of Modern Art in Rome, and the Carnegie Museum of Art in Pittsburgh. His name was also included in numerous lists and catalogs of famous painters.

1.《黃與灰》1972 年油彩畫布 45.72 x 76.2 cm 藏家提供 “Yellow and Greys”, 1972 oil on canvas, 45.72 x 76.2 cm Private collection

2.《結構》1958 年油彩畫布 102 x 76 cm 成交價：129.8 萬台幣羅芙奧台北 2008 春拍 “Composition”, 1958, oil on canvas, 102 x 76 cm Price realized US$42,690 Ravenel 2008 Spring Auction Taipei

During his life, Lin received countless

by the military-like neatness of the

geometrical shapes and pure hues, was

awards, some of which include the Institute

place. Everything was kept shipshape,

still far from being a mainstream affair.

of Contemporary Arts Award in 1961, the

systematically arranged for easy access,

Before long, however, Lin ’ s minimalist

First Prize of Open Painting Exhibition,

and the colors and materials were all of

style and emphasis on rationality and

Arts Council of Northern Ireland in 1966,

the best quality, with a clear preference for

pure mediums began to have a major

the William Frew Memorial Purchase

solid products and an aversion to cheap,

influence on a number of up-and-coming

Award, Pittsburgh International in 1967,

synthetic stuff. For Lin, there simply was

young artists, such as Tsong Pu, Jun T.

the Welsh Arts Council Award in 1976 ,

no room for compromise, especially when

Lai, Hu Kun-jung, and Chen Hui-chiao,

and the Diploma of Merit, Universita delle

it came to his art.

all associated with the IT Park Gallery

Arti, Italia in 1982. In 1985, a year after

and Photo Studio. They are now members

he had declared the “ death of painting ”

When Richard Lin returned to Taiwan

of Taiwan’s artistic elite, and their work is

and focused on installation art instead,

and held a solo exhibition in the 1980 s,

living proof that Lin’s legacy continues to

the Taipei Fine Arts Museum presented

his “White Series” created a big stir in the

grow even after his death in 2011.

him with the first prize in the Chinese

island’s art circles. Back then, Taiwanese

Modern Sculpture Exhibition for his three-

artists and critics mostly associated the

dimensional artwork.

term “ abstract art ” with the likes of Zao Wou-ki and his abstract expressionism,

In the mid- 70 s, Lin ’ s longstanding

which was marked by a vibrant palette

association with the Marlborough New

and splash-color techniques. Lin’s kind of

London Gallery came to an end when

abstractionism, reveling as it did in cold

his dealers asked him to change his minimalist approach to painting and adopt photo-realism as his new style, since that was a lot more fashionable in the United States at the time. Lin, however, was not willing to budge on such a fundamental issue, and when in the heat of their argument the gallery ’ s boss told him that “all artists are whores,” Lin famously tipped over the table in a fit of fury and walked straight out the door. As on other occasions, his uncompromising, headstrong even, artistic temperament asserted itself, and he remained true to his vision: realizing the ideals of aesthetic purity, rationality and order in the most succinct and abstract form possible. This methodical drive for order found expression not only in the artist ’ s outer appearance and personality, but also in his habits and behavior: walking into his studio, one was immediately impressed

| Art & Investment |

Rational Simplicity: Less Is More Just after the end of WWII, England witnessed the rise of the modernist movement, and as a student of architecture, Lin was much inspired by two of the pioneers of modern architecture. One was Ludwig Mies van der Rohe, arguably most famous for his aphorism “ Less is more ” ; the other Le Corbusier, who equally rejected excessive ornamentation and complexity in favor of simple geometrical shapes and minimalist designs, which he considered to be the epitome of genuine beauty.

Lin once said, “ If you want to tell a story, or talk about love and emotions, you should write a novel or make a movie. The fine arts are about something else: they exist to express what other art forms cannot, to explore the realm of absolute

logic and rationality. ” His earliest works still show some of the qualities of abstract expressionism, such as the “Flow” series

Gradually, all ﬁgurative clues disappeared

that ﬂuctuate and oscillate in a myriad of

(1957-1959), which employs the spirit of

from his work, or rather, were merged

forms and shapes, ever-metamorphosing as

traditional Chinese landscape painting and

into calm and emotionless sublimations

they shift across wide ranges of intensity,

a dripping ink technique to create pieces

of increasing simplicity. By the 1960 s,

dilution, brightness, translucence, and

highly reminiscent of “hot abstractionism,”

he was rapidly moving towards a “ cold

semi-translucence, generating the very

paintings that overflow with poignant

abstractionism ” featuring geometrical

ephemerality and mystery of pure space.”

moods, colors, and brushstrokes. During

lines and shapes. The most representative

1958 , Lin also produced a number of

work from that period is probably the

abstract paintings representing natural

“White Series,” in which the artist

sceneries or phenomena, all of which

focused on precise, condensed blocks and

bore very concrete and specific titles,

layers of white. Said the artist, “ White

such as “Waves,” “Sun Breaking through

is both the most common and the most

the Clouds,” “Solar Eclipse,” and “Black

popular color, making one feel at ease

Forest.”

and uncomfortable at the same time. And exactly therein lies its sacredness and its

The truth is that Lin never considered

sadness”; and, “White is not just a color.

his art to be “ abstract, ” but thought

It is a continuum of multifaceted shades

of himself as more of a “ naturalist. ”

and hues, an amalgam of tints and tones

1.《雲深不知處》1958 年油彩畫布 203 x 213 cm 藏家提供 “Deep Clouds”, 1958, oil on canvas, 203 x 213 cm Private collection

2.《示意素描》1966 年油彩紙 55 x 70 cm 藏家提供 “Gestural Drawing”, 1966, oil on paper 55 x 70 cm Private collection

Lin’s “White Series” easily puts one in

from Eastern philosophy, especially the

says that the structure of Lin ’s paintings

mind of Russian artist Kazimir Malevich,

more contemplative and idealistic Daoist

bears much similarity to German composer

the founder and most representative

tradition, whose main exponents were

Johan Sebastian Bach ’ s counterpoint

exponent of suprematism, and his

Laozi and Zhuangzi. It are their concepts

compositions, with both aiming at the

composition titled “ White on White. ”

of “emptiness,” “ethereality,” and “spiritual

same goal: profound meaning and logical

Malevich postulated the supremacy of

freedom ” that fed Lin ’ s minimalist style

harmony. “ The many different shades of

pure artistic feeling, and for Lin white was

as the artist took the “ liubai ” and wash-

white in Lin ’ s work, ingeniously layered

the most joyful and pleasing color of the

and-ink techniques of literati painting and

and arranged into almost hypnotic

entire palette. Both artists’ work shared a

imbued them with a distinctly postmodern

conﬁgurations of bars and ﬂat geometrical

metaphysical, Zen-like quality. Overall,

feel and meaning.

forms, leave one in a state of deep contemplation. Here one ﬁnds a boundless

though, Lin’s work strikes a different note

from Malevich’s oeuvre: the latter’s style

Richard Lin ’ s ultimate object is to

cosmic calm that transcends all petty

was very much a product of a turbulent

produce art that achieves absolute

moods and emotions, transcends even

historical background, as Russia was

simplicity of form and meaning. Yet this

life and death, as one enters the realm of

undergoing dramatic political and social

simplicity is deceptive, since it is the

enlightened tranquility. It reminds me a lot

shifts at the time. With society and art

result of very complex thought processes.

of the serenity emanating from traditional

in ferment, revolutionary energies gave

His canvases harbor fascinating forms

Chinese ink and wash works.”

extra momentum to the trends of absolute

that give the viewer a glimpse of eternity,

sublimation and abstraction, as opposed

freezing time by captivating the essence

to the conventional visual depiction of

of existence. Tsong Pu, one of the younger

objects. Lin ’ s “ White Series, ” on the

generation of painters influenced by the

other hand, mostly derives its inspiration

great pioneer of minimalism in Taiwan,

1.《秋葉》1972-74 年油彩畫布 127 x 152.5 cm 藏家提供 “Autumn Leaves”, 1972-74, oil on canvas 127 x 152.5 cm Private collection

| Art & Investment |

Rarity Makes Value, and Lin’s Works Are Much Sought after on the Art Market The term “ minimalism” first appeared

amounted to some US$900 , 000 (approx.

US$625,000). Since paintings by Lin are

in print in a 1965 issue of Arts Magazine,

NT$30 million), more than half of which

such comparative rarities, most collectors

in an article titled “ Minimal Art. ” But

changed hands in the Hong Kong market,

are quite reluctant to sell what they own.

Richard Lin, and other artists, had been

followed by Beijing and London. Sources

At the Ravenel Hong Kong autumn auction

pioneering this new style long before

say the most avid collectors of Lin’s work

2015 , a minor early piece from 1959

that, at a time when Zao Wou-ki, whose

are found in mainland China, rather than

triggered a regular bidding war among

approach to modern art was almost

Taiwan or other parts of the Sinosphere.

more than 10 clients, and eventually sold

diametrically opposed to Lin’ s, was also

Before year 2000 , his paintings would

for an impressive HK$ 430 , 000 (approx.

becoming increasingly popular with

only pop up very occasionally at auctions

US$ 55 , 742 ) against an original house

international audiences. Lin first made a

in Taipei, Europe, or the United Sates. A

estimate of HK$ 60 - 100 thousand, that

real impact on the European art scene in

good place to look for Lin’s work, outside

is, for seven times the lowest anticipated

the early 1960 s, favoring a reductionist,

of China, Hong Kong, and Taiwan, has

price also putting the lot in the current top

detached, and strictly rational approach,

always been the London auction market,

20 most expensive works by Richard Lin

stripping art to its bare essentials. In

as well as the city ’ s galleries, since it

sold at auction.

stark contrast, Zao was a flamboyant

was here, between 1960 and 1970 , that

impressionist-expressionist who dazzled

the artist created much of his best two-

Many types of abstract art, including

audiences with vivid colors and pulsating

dimensional work. After his return to

for example Japanese “Gutai” and Korean

compositions. But the two did not just

Taiwan in 1982 , Lin held numerous

monochrome painting “Dansaekhwa” have

differ in their artistic outlook and method:

solo exhibitions at a variety of galleries,

begun to enjoy a growing popularity on the

While Zao Wou-ki, or Chu Teh-chun for

including the Lung Men Art Gallery,

international art market in recent years.

that matter, were very prolific painters,

Spring Fine Arts Gallery, IT Park Gallery,

Against this backdrop, it comes as no

Richard Lin’s output was relatively small.

and Jia Art Gallery. In more recent years,

surprise that Richard Lin, whose unique

A catalogue raisonné that would give us

venues such as the Xue Xue Institute and

brand of minimalism has long been a

an overview of his complete body of work

the Jia Art Gallery continue to display

favorite with European collectors, is also

is not yet available, but it is clear from

his work, and the Kaohsiung Museum of

starting to garner wider attention. The

his rather erratic rate of productivity that

Fine Arts has previously held two major

most important exponent of “cold realism”

the number of works out there is most

solo exhibitions, among them last year’ s

in the world of modern Chinese painting,

likely not too large: Lin ’ s career as an

event titled “An Instant Is Eternity 2015

he boasts an attractive oeuvre that is

artist lasted about 50 years, 20 of which

Exhibition of Richard Lin: Donations to

very much on par with the best work by

he spent living like a hermit in Taichung’s

the Museum Collection.”

currently fashionable Japanese or Korean minimalists. More and more collectors

Dali, during which time he produced little. And he gave up painting completely

As mentioned above, Lin always

from China, Hong Kong, and Taiwan are

in 1984 to devote his time to three-

recalled how he sold his first painting

now quietly hunting for Richard Lin ’ s

dimensional artwork. Overall, then, it is

for just £90 (approx. US$252). However,

paintings, and this is a trend bound to

not exactly easy to ﬁnd and acquire works

by 2015 a painting by the artist sold at

gather momentum in the coming years. As

by Richard Lin.

auction for as much as HK$1.84 million

appreciation of this masterful minimalist

(approx. US$ 237 , 000 ). And prices paid

is mounting, prices for Lin’s art are set to

In 2015 , total of 14 lots by the artist

in privately negotiated transactions

rise signiﬁcantly.

surfaced in the auction market, all of

at commercial galleries have already

which found a buyer. The total turnover

exceeded NT$20 million (approx.

林壽宇作品二十大拍賣成交排行 ;VW 4VZ[ ,_WLUZP]L 7HPU[PUNZ I` 9PJOHYK 305 ,]LY :VSK H[ (\J[PVU 排名 9HUR

圖檔 0THNL

作品 >VYR

預估價 ,Z[PTH[L

成交價 :VSK H[

HK$ 800,000 - 1,000,000

US$ 237,360 HK$ 1,840,000

US$ 160,212 RMB 977,500

北京保利

RMB 850,000 - 1,200,000

US$ 152,258 HK$ 1,180,000

香港保利

HK$ 500,000 - 700,000

US$ 112,700 HK$ 873,200

香港保利

HK$ 160,000 - 240,000

HK$ 700,000 - 900,000

US$ 110,682 HK$ 860,000

HK$ 600,000 - 800,000

US$ 102,880 HK$ 800,000

HK$ 150,000 - 200,000

US$ 95,798 HK$ 740,000

US$ 71,735 GBP 47,475

倫敦佳士得

GBP 15,000 - 25,000

US$ 71,343 GBP 42,500

倫敦蘇富比

GBP 20,000 - 30,000

US$ 69,326 GBP 34,850

倫敦蘇富比

GBP 10,000 - 15,000

畫作1964年1月

Painting January 1964 1964 Oil on canvas 101.5 x 127 cm

拍賣地點／時間 (\J[PVU +H[L

香港邦瀚斯 Bonhams Hong Kong October 3, 2015

對比

Contrast 1982 Oil and aluminum on canvas 72 x 72 cm

Poly Beijing June 3, 2015

繪畫浮雕

Painting Relief 1961 Oil on canvas, aluminum disc 102 x 76.5 cm

Poly Hong Kong October 5, 2015

有鋁板的繪畫浮雕

Painting Relief with Aluminum Disc 1960 Oil on canvas, aluminum disc 63 x 76 cm

四季組畫：春夏秋冬

Spring, Summer, Autumn, Winter 1972-1974 Oil on canvas (63.5 x 63.5 cm) x 4

春在

Still Spring 1974 Oil and aluminum on canvas 101.6 x 76.2 cm

抽象

Black Oval on Green 1958-1960 Acrylic on canvas 208.3 x 177.8 cm

Poly Hong Kong April 6, 2015

香港蘇富比 Sotheby’s Hong Kong October 5, 2008

香港蘇富比 Sotheby’s Hong Kong April 4, 2011

香港佳士得 Christie’s Hong Kong May 27, 2012

66至68

Sixty Six to Sixty Eight 1966-1968 Oil and aluminum on canvas 101.6 x 101.6 cm

Christie’s London July 11, 2013

夏日清晨

Summer Morning 1974 Oil and aluminum on canvas on board 127 × 127 cm

Sotheby’s London June 11, 2014

繪畫浮雕雙聯作

Diptych Painting Relief 1968-1969 Oil on canvas with and aluminum relief 153 x 101.5 cm

July 15, 2008

| Art & Investment | 排名 9HUR

圖檔 0THNL

作品 >VYR

預估價 ,Z[PTH[L

成交價 :VSK H[

HK$ 250,000 - 350,000

US$ 67,671 HK$ 525,000

US$ 61,915 NT$ 2,030,000

台北佳士得

NT$ 600,000 - 800,000

US$ 56,490 GBP 36,050

倫敦佳士得

GBP 15,000 - 25,000

HK$ 100,000 - 200,000

US$ 56,321 HK$ 436,600

HK$ 60,000 - 100,000

US$ 55,742 HK$ 432,000

Ravenel Hong Kong November 29, 2015

US$ 54,798 NT$ 1,810,000

台北佳士得

NT$ 300,000 - 400,000

US$ 51,680 NT$ 1,700,000

台北佳士得

NT$ 800,000 - 1,200,000

HK$ 280,000 - 380,000

US$ 51,600 HK$ 400,000

HK$ 200,000 - 300,000

US$ 51,558 HK$ 400,000

RMB 50,000 - 70,000

US$ 46,913 RMB 299,000

雙黃

Two Yellows 1967-1968 Mixed media on canvas 102.3 x 101.8 cm

(\J[PVU +H[L

香港蘇富比 Sotheby’s Hong Kong April 6, 2014

極簡

Gwynfryn 1974 Oil on canvas 127 x 127 cm

Christie’s Taipei October 25, 1998

金屬浮雕

Metal Relief 1961 Bronze and aluminum relief on board 91.5 x 122 cm

無題II

Untitled II 2009 Mixed media on paper 59 x 75 cm

1959年11月23日

23 November 1959 1959 Oil on canvas 51 x 41 cm

Christie’s London May 24, 2012

香港嘉德 Guardian Hong Kong October 6, 2015

香港羅芙奧

繪畫浮雕

Painting Relief 1960 Oil and aluminum on canvas 101.5 x 91.5 cm

Christie’s Taipei April 12, 1998

藍調17.12.59

Blue Note 17.12.59 1959 Oil on canvas 173 x 173 cm

如日中天

Midday Sun 1961 Oil and brass disc on canvas 127.2 x 102.2 cm

風暴雲

Storm Cloud 1964-1965 Mixed media on canvas 91 x 102 cm

1982年四月的一天

One Day in April 1982 1980-1982 Oil on canvas 46 x 31 cm

Christie’s Taipei April 18, 1999

香港蘇富比 Sotheby’s Hong Kong October 6, 2013

香港蘇富比 Sotheby’s Hong Kong April 6, 2014

北京誠軒 ChengXuan Beijing November 14, 2015

（製表／ Odile Chen & Tiff Wong。資料更新 update 2015.12。Source: Artprice.com）

藝術的浪漫與叛逆

林曉同 The T he Resonance Resonance and and Sensation off A Art Sensation o rt

Lin Shiao Tung Text / Ethan Photo / 王漢順

在珠寶界以「極簡中華麗」風格著稱的林曉同，認為威士忌經過淬鍊、蘊藏，和總存著一份情感寄託的珠寶創作，最終都是「藝術品」。 Lin Shiao Tung, who in the jewelry industry is known for his“magnificent minimalistic”style, believes whisky undergoes maturation in much the same way he puts his feelings into one of his jewelry creations, to be a “work of art”.

禁

止

酒

駕

酒

後

| Issue |

說，威士忌蒸餾工藝經過淬鍊，和總存著

Mortlach 慕赫 2.81™ 單一麥芽威士忌「再

一份情感寄託的珠寶創作，最終都是「藝

好喝的酒都比不過想得到它的慾望」評價

術品」。

的最高境界了吧！

品酒是藝術，也是一種態度。藝術創作風格的養成也是如此。豪飲，充其量是感官刺激；而一味堆疊，不如人生歷練後的 2

林

曉同看著杯子裡 25 年的威士忌，

美學來得持久。這種藝術最高的境界，靠

1. 獨鍾品飲單一麥芽威士忌，林曉同欣賞 Rare Old 酒體完美的獨特花果香口感；也欣賞 25 年混合烘烤香料與近乎原始野獸強度的厚重質感。 Fond of drinking single malts, Lin Shiao Tung appreciates Mortlach Rare Old for its perfect floral and fruity flavour. He also savors Mortlach 25-year-old’s baked spices note and its thick presence that has been described as “The Beast of Dufftown”.

著一天天、一月月、一年一年情感沉澱、內化才能達到精純而細膩的展現。

時間彷彿回到 1999 年，自創品

牌的那一年；15 年了，伴隨著成長歲月

騎哈雷、俯衝式自行車、潛水等極限

和生命歷練。由簡化繁，繁華之後，因為

運動，讓腎上腺急速飆升，有時候反而是

記憶的投射和一次又一次情感沉澱，林曉

紓解和暫時放鬆。和車友結伴呼嘯而去，

同說，「珠寶承載了歲月的流動，恆久彌

林曉同笑稱，掙脫束縛、感受自我時光的

堅」，呼應著歲月洗禮，也隨著他對生活、

快感，是哈雷所給無可取代的享受。「我

情感和這塊土地的眷顧和寄托，很自然地

喜歡威士忌帶來的孤芳自賞」常在完成手

反映在創作中，無論是去蕪存菁的鑽石或

稿草圖創作後，享受一個人的獨處，會想

是彩寶，甚至玉石，在珠寶界以「極簡中

喝一口 Mortlach 單一麥芽威士忌。細緻

華麗」風格著稱的林曉同，這些年，人更

的酒體混合烘烤香料香氣，濃郁甘甜和一

自在、隨興；作品也愈見大器而圓滿。啜

點橡木桶迷人風味的層次在舌尖流轉，林

一口蘇格蘭單一麥芽威士忌，像男人的對

曉同說，這大概就是《富比士》雜誌給予

2. 林曉同一向以「極簡中華麗」做為設計風格，「心坎鑲」系列單顆美鑽以最小的鑲嵌點，凌空坐落於三瓣心坎鑲中，一筆成型的戒圈，延伸出俐落而服貼的線條，透過剛柔並濟的線條交錯，交織出立體空間層次，與 Mortlach 慕赫 2.81™ 25 年蘇格蘭單一麥芽威士忌精緻的橋墩架構瓶身，有異曲同工之妙。 Mortlach 25-year-old single malt whisky inherited the architectural background of the Cowie family. The exquisite pillar-structured bottle and Lin Shiao Tung’s pursuit of three-dimensional jewelry designs complement each other in their beauty.

3. 林曉同喜歡在完成一件滿意的創作後，享受一個人的獨處，「我喜歡威士忌帶來的孤芳自賞」。 After the completion of a gratifying creation, Lin Shiao Tung enjoys personal solitude. “I like the indulging in self-admiration that whisky brings.”

話，渾厚紮實的酒體，琥珀流金般層層疊疊地，盪漾著藝術家一步一腳印的故事。

「最簡單的角度找到最美的轉折，」握著 Mortlach 慕赫 2.81™ 單一麥芽威士忌受維多利亞黃金時期的歷史啟發，承襲 Cowie 家族建築背景，創造出結構般線條感的瓶身，林曉同不禁感同身受地說，精緻的橋墩架構，和他追求珠寶 3D 立體設計，頗有異曲同工之妙，保留個性但卻有雅致的餘韻。

之所以心有戚戚焉獨鍾單一麥芽威士忌？林曉同的解讀是，製酒和珠寶創作一樣需要催化，等待而且還要禁得起考驗。稀有而恆久的珠寶形成，如同威士忌酒液從蒸餾到熟成的豐醇之旅，林曉同深諳其中道理。喜歡蒐集也收藏「原酒」的他常

不

開

車

安

全

有

保

障

The Art of Fashion Is Boundless and Borderless

時尚藝術無邊又無界 Text / Ethan Photo / Cartier、GUCCI、LOUIS VUITTON、PRADA、Salvatore Ferragamo、VALENTINO

| Special Report |

早在 1925 年，Cartier 卡地亞就是巴黎「國際現代裝飾及工藝藝術展」推手之一，為藝術家們提供創作空間，在藝術與公眾之間建立一座橋樑，致力推廣當代藝術，提高大眾對當代藝術的認識。近代各家時尚大腕無不鉅細無遺地追溯各種藝術風格，更借由繪畫、雕塑、攝影、音樂、建築、文學作品探索豐富多元、充滿活力的藝術的可能性，不但對商業創作是一種刺激和養分，也使當代藝術得以融入生活，緊扣時代脈動，反映人生、批判人性，各自開花結果滋養了屬於這個時代的風華。時尚圈這場無邊又無界的藝術博覽「會外賽」，精采不在話下。 In 1925, Cartier was one of the advocates of the Paris International Exposition of Modern Industrial and Decorative Arts. By both providing creative space for artists and building a bridge between art and the general public, Cartier was devoted to popularizing as well as raising public awareness of contemporary art. In modern times, the biggest names in the fashion industry all meticulously look back at various artistic styles and explore the possibilities inherent in these rich and lively works of painting, sculpture, photography, music, and literature. This not only means stimulation and nutrients for business creations but also blends contemporary art into daily life. Closely linked to the pulse of the times, it reflects life and criticizes human nature. Each flowering result brings nourishment to the elegance of this era. The fashion circle’s limitless art exhibition“qualifying games”are brilliant beyond words.

Fondation C a r t i e r pour l’art

contemporain

剛果之美 BEAUTÉ CONGO 1984 年，卡地亞創立當代藝術基金會

畫家 Popular Painters」藝術家們的作品，

（Fondation Cartier pour l’ art contemporain）。

對都市環境與共同回憶著迷不已，並在日

長期以來與許多知名藝術家、攝影師、建

常、政治與社會事件啟發下，發展出具象

築師、服裝設計師及文人深刻合作，彼此

繪畫的全新手法。同時可見如帕帕 • 愛慕

激盪。

浮安托（Papa Mfumu’eto）在 1990 年代以獨立多產漫畫作品聞名，透過作品探討

這次「剛果之美」是因 1920 年代中期，剛果仍是比利時殖民地時，先驅畫

日常生活與常見難題及關注全球時事；及一系列雕塑、攝影和音樂作品。

家 Precursors 以具備具象或幾何風格，並以雋永詩意與想像呈現鄉村生活、自然世

卡地亞鼓勵透過繪畫、另類拼貼及重要

界、夢境與傳奇故事，在紙上帶動現代與

藝術手法為當代藝術帶來豐富多元的更多

當代藝術發展。二十年後，自稱為「大眾

活力。 4

| Special Report |

F O N D AT I O N LOUIS VUITTON 5

1. 攝影師安布魯瓦茲 • 納蓋姆庫的作品《Euphorie de deux jeunes gens qui se retrouvent》。

流行與音樂 / 聲音 Popist and Music / Sound

Ambroise Ngaimoko, “Euphorie de deux jeunes gens qui se retrouvent”, 1972 Gelatin silver print, 27 x 27 cm Collection of the artist © Ambroise Ngaimoko. Photo © André Morin

2. 畫家謝里 • 桑巴作品《6\P PS MH\[ YtÅtJOPY》。 Chéri Samba, “Oui, il faut réfléchir”, 2014 Acrylic and glitters on canvas, 135 x 200 cm Collection of the artist © Chéri Samba. Photo © André Morin

路易威登對當代藝術的推廣、贊助和跨界一向不落人後，而且屢有佳作；經常可見品牌結合藝術表達對社會議題、商業創

3. 攝影師珍 • 德巴罕作品《Untitled》(Moziki)。 Jean Depara, “Untitled”(Moziki), c.1955-65 Gelatin silver print, 55.5 x 38 cm CAAC – The Pigozzi Collection, Geneva © Jean Depara. Photo © André Morin

作的創意觀點，令人驚豔。其中「普普藝術」與「音樂 / 聲音」更是時尚藝術主題中不可或缺的創作元素。

4. 大眾畫家米卡的作品《Kiese na kiese》。 JP Mika, “Kiese na kiese”, 2014 Oil and acrylic on fabric, 168.5 x 119 cm Pas-Chaudoir Collection, Belgique © JP Mika. Photo © Florian Kleinefenn

普普藝術作品表現了藝術家對物件和影像的關注，尤其在面對消費社會來

5. 塗鴉藝術家尚 • 米榭 • 巴斯奇亞的作品《Grillo》。

臨之際，廣告、電視、電影和網路的推

Jean-Michel Basquiat, “Grillo”, 1984 Photo Fondation Louis Vuitton / Marc Domage © The Estate of Jean-Michel Basquiat / Adagp, Paris 2015

波助瀾。代表的藝術家包括：Jennifer Allora & Guillermo Calzadilla、Jean-Michel

6. 普普藝術大師安迪 • 沃荷的自畫像。

Basquiat、Mohamed Bourouissa、Gilbert & George、Andreas Gursky、Bertrand Lavier、Adam McEwen、Michel Majerus、 Christian Marclay、Philippe Parreno、

Richard Prince、Sturtevant、Andy Warhol。

Andy Warhol (1928-1987, Etats-Unis), “SelfPortrait”, 1963-1964 Acrylique et encre sérigraphique sur toile, 50.8 x 40.6 cm © The Andy Warhol Foundation for the Visual Arts, Inc. / Adagp, Paris 2015 Photo: Courtesy Galerie Gagosian, Paris

7. 行為藝術家瑪麗娜 • 阿布拉莫維奇作品《9LQ\]LUH[VY VM ;OL (Z[YHS )HSHUJL》。 Marina Abramovic, “Rejuvenator of The Astral Balance”, 2000 Photo Fondation Louis Vuitton / Marc Domage © Adagp, Paris 2015

音樂是藝術家創作不可或缺的元素。 LV「音樂 / 聲音」之作是以環境、雕塑和錄像的形式呈現。從古典交響樂到流行音樂，人聲合唱到樂器演奏等，代表的藝術家包括：Marina Abramovic、 Pilar Albarracín、Ziad Antar、Ulla von Brandenburg、John Cage、Rineke Dijkstra、Cyprien Gaillard、Douglas Gordon、Mark Leckey、Philippe Parreno、 Jaan Toomik、Hannah Weinberger。

Fondazione P

1 3 1. PRADA 藝術基金會米蘭新展館由 OMA 團隊設計。 New Milan venue of Fondazione Prada Architectural project by OMA, 2015 Photo: Bas Princen Courtesy Fondazione Prada

連續的經典 Serial Classic

2. PRADA 藝術基金會展覽空間。

時尚設計師繆西婭 • 普拉達（Miuccia

術作品並與公眾共享。展館由建於 1910

Prada）一直以來都是當代藝術的藏家，更

年代的一座釀酒廠改造而成。OMA 構想兼

是國際上重要的推手。PRADA 藝術基金會

具老建築的保護與新建築的創建，兩種相

創辦於 1993 年，致力於舉辦現代藝術展

互獨立，又在持續的互動中彼此相對。「連

覽以及建築、電影和哲學項目，因此而成

續的經典」展覽借由古典雕塑，探索羅馬

為解析當代精神的前哨。以「文化是一種

文化中原創與模仿的矛盾關係，以及羅馬

有效的知識與學習工具」作為基礎理念，

文化對複製品傳播行為的提倡。羅馬共和

不定期開放並推出展覽。

國晚期以及整個帝國時代，優秀古典藝術作品的複製比西方藝術史上任何時代都更

米蘭展館建築項目由建築師 Rem Koolhaas 所帶領的 OMA 團隊構思設計，

為重要。以《擲鐵餅者 Discobolus》和《蹲伏的維納斯 Crouching Venus》最具代表。

全面擴展建築的空間類型學，用於展示藝

Exhibition view of “An Introduction”, Fondazione Prada Milano, 2015 Photo: Attilio Maranzano Courtesy Fondazione Prada

3. 藝術家羅伯特 • 戈伯爾的裝置藝術《Corner Door and Doorframe》。 Robert Gober, “Corner Door and Doorframe”, 2014-2015 Door, doorframe, wall construction Photo: Attilio Maranzano Courtesy Fondazione Prada

| Special Report |

Salvatore Ferragamo 6

4.「連續的經典」由塞爾瓦托 • 塞提斯和安娜 • 安圭索拉共同策劃。

宮殿與城市

Exhibition view of “Serial Classic”, co-curated by Salvatore Settis and Anna Anguissola Fondazione Prada Milano, 2015 Photo: Attilio Maranzano Courtesy Fondazione Prada

A Place and The City

5. View 絲巾靈感源自 Palazzo Spini Feroni 宮殿頂端俯瞰佛羅倫斯的景觀。

Palazzo Spini Feroni 宮殿，見證了佛羅

The View scarf is inspired by the Florence cityscape seen from the top of the Palazzo Spini Feroni.

倫斯七百多年的歷史長河。為慶祝義大利在 150 年前定都佛羅倫斯，Ferragamo 博

6.「宮殿與城市」展覽作品。

物館獻上一場名為「宮殿與城市 A Place

The Artwork of “A Place and The City”.

and The City」的展覽，探索藝術與歷史交

7. Palazzo Spini Feroni 宮殿外觀與描繪其的展覽作品。

織而成的文化饗宴。旨在回饋佛羅倫斯及

Palazzo Spini Feroni exterior and depict their exhibition pieces.

其當地居民與旅人，表達他們也是佛羅倫斯城市景觀中的重要角色。

Ferragamo 博物館此次展覽，追溯 Palazzo Spini Feroni 宮殿長達幾個世紀的歷史，引人注目而激動人心。1938 年，義大利製鞋師 Salvatore Ferragamo 先生選擇在此宮殿開設公司。同時也經常舉辦各種重要展覽，很具歷史意義。

由 Ferragamo 先生根據藝術家 Alvaro Monnini 的繪畫於 1961 年設計，也是 Ferragamo 最早的絲巾製造商科摩 Ratti 基金會檔案室中，50 年前樣本複刻的 Palazzo 絲巾；和 View 另一款絲巾。靈感源於從 Palazzo Spini Feroni 宮殿頂端俯瞰佛羅倫斯的 360 度景觀，既是此次展覽的標誌形象，也為時尚留下最美好的記憶。

G U C C I 2 1. 牆上掛著藝術家 Helen Downie 為穿著 (SLZZHUKYV 4PJOLSL 設計服裝的主角創作的肖像畫。 On the wall hang several portraits created by Helen Downie of the main character wearing outfits designed by Alessandro Michele.

2. 時尚攝影師 Nigel Shafran 的鏡頭記錄揭開時尚界鮮為人知的一面，傳遞專注與熱情。 Fashion photographer Nigel Shafran’s camera documents and uncovers the little-known side of the fashion industry, the dedication and passion that lies behind the glamour. (Courtesy of XIE Yingjie)

9HJOLS -LPUZ[LPU 的雕塑作品《時間先生》講述時間往往伴隨著美好與生命的易逝，頗具死亡警世意味。

Rachel Feinstein’s sculpture “Mr. Time,” portrays the passing of time from the most beautiful moments of our life to the time when our lives come to an end, in a tone that seems to caution of our inevitable deaths. (Courtesy of LU Yuchao)

| Special Report |

已然 / 未然 No Longer / Not Yet

當義大利哲學家 Giorgio Agamben 寫道：「真正同時代的人，真正屬於其時代的人，也是那些既不與時代完全一致，也不讓自己適應時代要求的人。從這個意義上而言，他們就是不相關的」。觸動 GUCCI 推動「已然 / 未然 No Longer / Not Yet」展覽，對稍縱即逝、難以捉摸的「此刻」提出了一個簡單的問題：「何謂當代」？「時間性」不僅是現今的時尚本質，對於瞭解與展現時尚更加重要，那個造型、那件衣服、那個配飾，那樣的態度充分體現我們在歷史中。這就是為什麼「這很流行！ that’ s so now」會成為時尚中難以忍受的陳腔濫調，每個優秀的設計師就是要成為當代，將「已然 passé」從「未然 too soon」中分離，去抓住稍縱即逝的脈動。

但時尚與時間的關係確實錯綜複雜，就以產業鏈來說，在衣服可以被購買之前，

們對過去的認知。藝術家 Rachel Feinstein

它需要被設計、展示、製作─也就是說，

將時間刻劃成一個現代童話裡的角色。時

一個偉大的設計師必須要能夠預見未來幾

尚攝影師 Glen Luchford 以古馳 2015 秋

個月後的「當代」。所以，他們必須讓自

冬系列的廣告形象大片，甚至包含尚未曝

己逃離此刻，使自己擺脫「這裡」和「現

光過的影像，傳達了古馳的視野。時尚攝

在」的束縛，才能夠成功地創造出即將到

影師 Nigel Shafran 的攝影紀實，無聲地紀

來的「當下」。

錄了 Alessandro Michele 於 9 個月前開始的旅程，這基本上就是當下的視覺歷史。

中國藝術家曹斐的裝置藝術代表了中

Unskilled Worker 業餘畫手（本名為 Helen

國當代社會經濟在快速發展的歷程下，城

Downie）為穿上 Alessandro Michele 設計

市與鄉村之間的空間關係。觀念藝術家

的服裝的主角創作肖像畫，懷舊又浪漫。

Jenny Holzer 則體現一貫創作，劫持了被

同時，挑選了複刻且出處不明的肖像畫，

行銷手段掌控的當代都會風景。藝術家李

因服裝的關係而性別曖昧不明的陌生人，

姝睿的作品直入腦海中記憶與主觀印象交

掉進時間之流裡，被「這裡」和「現在」

匯的核心，提醒當下擁有的意識來自於我

框於當下。

4. 紐約時尚攝影師 .SLU 3\JOMVYK 將作品展示在如地鐵站的流行文化原生環境中，試圖構建「更真實」的奢華而非遙不可及的夢想。 New York fashion photographer Glen Luchford placed his works on display in the native environments of popular culture such as subway stations in an attempt to create a “more realistic” luxury, rather than a distant and unachievable dream. (Courtesy of XIE Yingjie)

5. 從曹婓的裝置藝術《倫巴 2》看見吸塵機器人正在清理 GUCCI 秋冬印花圖案地毯上的彩球堆，表達北京的快速城市化，及其與周邊鄉村土地的割裂化關係。 From Cao Fei’s installation art “Roomba 2,” a vacuum cleaning robot is seen vacuuming the heap of confetti from the GUCCI fall and winter patterns spread along the carpet, serving as an expression of the rapid urbanization of Beijing and its fragmentation from the surrounding countryside.

6. 靈感源於十八世紀掛毯與屏風，「GUCCI Tian」花卉圖案壁紙被賦予當代風格，體現 Agamben 的邏輯理論──同時代性即與時間產生一種斷裂和脫節的關係。 Inspired by 18th century tapestries and screens, the “GUCCI Tian” floral wallpaper has been bestowed a contemporary style, reflecting Agamben’s logic theory—the contemporary age occurs in conjunction with time—a type of relationship both fractured and out of touch.

VALENTINO

永恆羅馬 Mirabilia Romae 永恆之城「羅馬」一直是啟導創意和

勝，講求結構、質量、匠心、色彩、細節

精神面貌的魔法寶典。我們無法幻想沒有

和精巧工藝。VALENTINO 優秀的工藝和

羅馬的世界。同樣地，我們無法幻想沒有

創意皆是來自脫俗的羅馬。於是泥灰雕

VALENTINO 的羅馬。羅馬的精髓，一如

飾、卵石長街、淙淙流泉、魔幻燈光，包

VALENTINO 作品，以時裝探索建築的可

括藝術家德 • 奇里訶的故居、狄安娜浴

能性。內涵和細節，華麗丰采，令人沉醉

場和八世紀即成為朝聖重地的「聖器室」

於輝煌。

等，綻放著羅馬醉人氣息的古蹟場景都成

了 VALENTINO 最佳的秀場，令人一窺藝「分站式展覽 La Mostra Diffusa」─ Mirabilia

術和時尚的美麗交鋒。

Romae，將品牌服裝分佈於羅馬十個地點展覽，擺設特別裝置與環境互相配合，向訪客訴說品牌的故事。時裝就如歷史名

| Special Report |

1. 一座十五世紀宮殿「劍擊殿堂」的軍械室 Sala d’armi，可參觀劍擊實戰指導課並欣賞大量文獻、藝術品、古董及搜羅自東方的刀劍等，見證體育精神。

In the “fencing hall” within the armory or Sala d’armi of a 15th century palace, visitors can watch ongoing fencing training courses, witnessing athletic spirit while enjoying the large amount of literature, art, antiques and sword collection composed of blades collected from the East.

2. 新古典建築形式，有著拱形天花板、圓形大理石浴池及龐貝風格壁畫的狄安娜浴場。 Bagno Di Diana is built in the neoclassical architectural style, with vaulted ceilings, wide round marble baths and Pompeii-style frescoes.

3. VALENTINO 運用鉚釘、刺繡甚至 3D 效果成功將迷彩圖騰塑造為品牌標誌性元素，更延燒至女裝展露性感的一面。 Using rivets, embroidery and even 3D effects, Valentino manages to successfully make camouflage matte patterns into one of the brand’s iconic elements, further spreading to women’s clothing to show off a sexier side.

4. 義大利超現實畫派大師德 • 奇里訶故居（現為基金會），自十七世紀即為羅馬市中心文化藝術交匯的樞紐。 Italian master surrealist painter, de Chirico’s home (now the Fondazione De Chirico), has been a hub for cultural and artistic exchange at the center of Rome since the 17th century.

5. 卡薩納特圖書館藏有大量版畫、繪圖、照片、畫作、家具和科學儀器，享譽世界。 The world-renowned Biblioteca Casanatense holds a large number of prints, drawings, photographs, paintings, antique furniture and scientific instruments.

6. 隨著 VALENTINO 精心安排的分站式展覽「Mirabilia Romae」，親身體驗羅馬的魅力。圖為 7HSHaaV 7LJJP )S\U[ 宮殿。 Follow the multi-station exhibition tour (La Mostra Diffusa “Mirabilia Romae”) carefully arranged by Valentino to experience the charm of Rome firsthand. The image is of the Palazzo Pecci Blunt.

1. VistaJet 機艙內空間設計寬敞，簡單舒適的米白色皮製座椅，搭配亮紅色玫瑰，格外奢華。 The interior design of VistaJet’s cabin is spacious, and the simple, comfortable chairs of beige leather with bright red roses are especially luxurious.

| Worldly Goods |

我們只是去吃一頓午餐 We Are Just Getting Lunch Text / Yasmin K Photo / VistaJet

搭乘飛機上班，甚至飛到一座島上吃午餐 ? 現今，私人飛機已經是趨勢，特別在歐美，甚至亞洲和中國新富之間，訂製私人飛機更是方興未艾。 Flying to work and even flying to an island to eat lunch? Nowadays, it is already a trend to own a private airplane. Especially in Europe and America, and even among the newly rich in Asia and China, there is a growing market for customized private airplanes.

馬仕 HERMÈS 全球訂製部門，最

機給企業客戶的業務。最近更添加新的

近接了大單。全員被要求飛到紐約

Global 6000 機型，VistaJet 機隊已擴大到

替剛買了一架私人飛機的客戶，評估機上

50 架飛機；此外，包括知名私人飛機公司

二十七個位置全數更換成愛馬仕皮製座椅

Bombardier Challenger 和 Global Jet 也已跟

的訂製業務。」據私下透露，這位大戶正

進。VistaJet 宣布在業務上成交了 56 台國

是台灣人。

際飛機，在未來也將會再增加 86 台，可見

愛

私人飛機市場多麼龐大。今天，不少大腕人物需要全球跑透透或甚至只是到一座島上吃個午餐，當天下午

創始人 Thomas Flohr 說道，對 VistaJet 不

再飛往歐洲開會，隔天再回到亞洲。使得

利的就是市場繁榮，如果人們有更多的錢，

擁有私人飛機已經是一個流行趨勢，而且

他們可能會自己擁有一架私人飛機，而不

在亞洲的成長更是驚人。今天，企業家為

是以租的。

了便利和私密性，選購沒有路線，也沒有運輸管理安全限制的私人飛機，再合理不過了。

過去的 18 個月，亞洲市場增長了一倍多，ViataJet 甚至不斷在亞洲區投放更多私人飛機的數量。而且 VistaJet 對中國市場相

VistaJet，擁有世界各地的商務飛機，並且推出「按小時計算」的租用私人飛

當有信心，今年七月開始為中國提供一系列私人飛機租用服務。

1. 機艙內最大亮點莫過於這座備感舒適的寬敞座椅。採用義大利皮革，質感無庸置疑。 The main feature of the cabin is without a doubt these comfortable and generously-sized chairs. Made from Italian leather, the texture of the material says it all.

2. VistaJet Challenger 350 以亮銀色呈現，彷彿老鷹翱翔空中，氣勢十足。 The silver VistaJet Challenger 350 appears to be a magnificent eagle soaring through the sky.

3. 經典 VistaJet Global 6000，機身線條清晰，外型簡約，是企業界的首選之一。

The classic VistaJet Global 6000, with its distinct contours and simple exterior design, is one of the premium choices of the business world.

| Worldly Goods |

奢華極限飛機選擇

3PTP[LK ,KP[PVU 3\_\Y` (PYWSHULZ

:MWXE.IX 'LEPPIRKIV āăþ

:MWXE.IX +PSFEP Ąþþþ

Challenger 350 為美國區最新私人飛機機種。擁有 5,926 公里

擁有頂級且舒適的環境，Global 6000 的客艙設計結合黑木和

的洲際範圍，裝載人數高達 9 位乘客。提供不間斷的連接路線，

義大利製皮革座位，打造出一個家外之家的環境。內設行政辦公

穿梭各個主要城市，包括中國。可以在非洲的主要城市點到點的

設施，高速無線網路功能，獨家的 iPad 娛樂系統，配備最新上映

接駁，經典路線為倫敦到杜拜。除此之外，還提供絕佳的飛行路

的電影及雜誌。這架飛機的洲際範圍較大，高達 11,110 公里，

線，例如莫斯科到杜拜、利雅德到日內瓦、香港到孟買。

13 小時的最長飛行時間。

世界TOP50廚房

Peter Gilmore 澳洲廚神美味炫技

A Deliciously Talented Showcase by Australia’s God of Cooking Text / Y. Dolem Photo / Bennelong、Quay Restaurant

| Cuisine |

雪梨最有「星味」的餐廳自然就屬 Bennelong，這是名廚 Peter Gilmore 在雪梨歌劇院開張的新餐廳，這位不在餐廳就是在自己菜園的「明星」，探究從土地長出的原味，實驗出舌尖上的迷人風景。 When discussing the restaurant in Sydney with the most“star power,”Bennelong naturally comes to mind. Bennelong is star Chef Peter Gilmore’s most recently opened restaurant, and what time Chef Peter doesn’t spend at Bennelong, he spends in his own garden, searching for original flavors which grow from the earth to experiment with in creating delightful landscapes which come to life on the tongue.

世

界 Top 50 廚房 Quay 從 1988 年開

幻出一道道驚豔味蕾的料理，如樂曲般多

幕至今，曾經遷移並改名過，不

樣有趣。

僅是全澳洲獲獎最多次的餐廳，更為名廚 Peter Gilmore 的成名之地，Gilmore 說：「美

對 Peter Gilmore 來說，料理追求的不該

味料理背後的哲學其實十分簡單，只要兼

只是美味，「從自然本質中激發創意靈感」，

顧四個元素：『自然』、『口感』、『濃淡』

喜歡親自下鄉挑選食材，和小農和漁夫合

和『純淨』。」

作挖掘最高品質食材，獨家供應他的餐廳。喜歡將大自然的感動融入料理，多種口味

2010 年，Gilmore 將料理哲學集結成

對比鮮明的食材迸出滋味，創意卻不失和

冊，出版《Quay: Food Inspired by Nature》

諧，在餐盤上創造出無可比擬的五感體驗。

美食書，裡頭全是炙手可熱的食譜，毫不

「Snow Egg」更是澳洲美食圈人人讚嘆的

吝嗇與廣大讀者分享，宛如一本食尚聖

經典甜點。

經，帶來味蕾奇幻之旅；而 2015 年，我們窺見 Gilmore 對於美食與土地連結的人文態度，第二本美食書《Organum》問世，更深入介紹每一道料理的產生過程，特別 4

專文介紹自己的實驗菜園，裡頭種滿了各色各樣可食用植物，他認為植物的各個部位都能入菜，有甜甜的塊根或塊莖、微苦的複葉，也有芳香的花朵，感性的 Gilmore 用奧干農（Organum） ─ ─ 西方最早的複音音樂來比喻，料理中的自然、口感、濃淡和純淨四個元素若是和諧，便有如「奧干農」中的曼妙和聲，在舌尖交織出一首動人樂章。在書中，特別描繪對他深有影響的人事物，以及為他供應各類生鮮食材的人，一

1. 宛如藝術表演廳的 Bennelong 就位在雪梨歌劇院。 Shaped like a performing arts hall, Bennelong is located within the Sydney Opera House.

2. 招牌料理 Snow Egg 是以 300 克蛋白與 300 克白糖作成酥皮外殼，內藏新鮮草莓與去皮芭樂餡料。 The signature dish, Snow Egg, features a pastry shell made of 300 grams of egg white and 300 grams of sugar, stuffed with fresh strawberries and peeled guava.

3. Peter Gilmore 善於以食材呈現土地的本味。 Peter Gilmore specializes in presenting local flavors through various ingredients.

窺廚神和農夫、漁民

4. Quay 在美麗碼頭邊上演簡單卻極致的廚藝完美秀。

們密切互動，進而變

On a beautiful harbor, Quay features a simple but extreme culinary show.

的全新力作，直接位在大貝殼──

人捨不得切開，柚子粉圓與蟹肉揉捏出的

雪梨歌劇院內，整片透明玻璃窗外

銀珠在口中破裂綻出豐富層次，蛋白小米

盡攬市中心高聳的建築群與忙碌

和章魚綜合前所未嚐的新鮮味，Mud Crab

的環形碼頭，宜人風光。

Congee 是將蟹肉打成泥狀，配上豆腐和熱粥，又將蔬菜的嫩枝與花蕊做配料；主菜

從產地到餐桌 From Garden to Table

巧克力的濃稠醬汁、高級鵝肝布丁塊與松露、核桃的組合，豐富香氣如夏秋的土壤，

「三頂帽子」的經典傑作 A Classical Masterpiece by Three Hats

則是煎到五分熟的鵪鶉肉，利用濃郁得如

堅持使用來自澳洲當地漁夫

使人印象深刻，還有菜名逗趣的「迷你金

和農家的當季食材，以最簡單卻細膩的

槍魚捲 Funny in the mouth」無不是絞盡腦

烹調方式展現食材原味，Bennelong 餐

汁以自然食材呈現的動人魔法，絕對是澳

廳更以來自南方海岸的生蠔和當季有

洲最火紅的地標性餐廳。

機沙拉蔬菜，結合藝術家 Paul Davis 和除了米其林之外，在澳洲評鑑制度下，

Chris Plumridge 設計的盤具受饕客樂道，受饕客樂道，

更究極的美味追求的廚師帽（Hat），被視

Gilmore 為客人精選澳洲當地酒莊釀製的地酒莊釀製的

為老饕追逐美食的寶典，Peter Gilmore 便

酒款佐菜，將產地到餐桌的概念發揮概念發揮

是「三頂帽子」──美食界最高榮譽的表

成道道藝術美饌，是去歌劇院看院看

率，他的餐廳是此生必嚐的經典。

表演前必朝聖之地。

帽子與米其林評鑑有何不同？澳洲美食

品味 Peter Gilmore 的料理

餐廳以 Hat 為餐廳評分，等級從一頂到三

如同用味蕾翻閱一本顛覆想像像

頂帽子，獲得三頂帽子代表了餐飲界最高

的藝術書，先以白色胡蘿蔔奶油奶油

榮譽。這源自《澳洲世紀報 THE AGE》

配上煙燻鰻魚凍，撒上黑麥麵包屑與麵包屑與

及《雪梨晨峰報 THE SYDNEY MORING

茴香種子甚是開胃！接著呈上主廚經典名上主廚經典名

HERALD》的評鑑制度，兩家媒體報導

菜「海珍珠 Sea Pearls」，以鮪魚、干貝、鮪魚干貝

詳實公正，每年由《THE GOOD FOOD

蟹肉和章魚變幻出粒粒寶珠，奇幻到令

GUIDE》出版介紹雪梨及墨爾本的評鑑結果，評比中滿分 20 0 分，美味度佔 10 分，酒單及服務佔服務佔 5 分，餐廳氣氛佔 3 分，整體表整體表現佔 2 分。總分超過 15 分的餐廳才有資格掛上象徵澳洲廚師最高榮耀的廚師帽殊榮。

「澳洲廚神」自營的「Quay」餐廳位於國際旅客碼頭二樓角落，東面對對著雪梨港與歌劇院相望，北面則有雪梨港灣大橋和 Park rk Hyatt 酒店景色，兩側皆是人人氣訂位熱點，而今年剛開幕幕的「Bennelong」是 Gilmoree

1. 在 Peter Gilmore 的實驗花園生長著許多可食用植物，每一道鮮蔬菜餚都記錄著季節。 Edible plants are grown at Peter Gilmore's experimental garden, and each vegetable dish is associated with a particular season.

2. 以糖畫出的板塊可成餐桌上的雕塑。 Plates drawn by sugar can become sculptures for the table.

3. 冬季黑松露與青豆、迷你蘿蔔佐以松露奶油醬汁。 Winter truffle, green peas, and baby carrots topped with truffle cream sauce.

4. 香草豆主導香氣，白油桃與白櫻桃在明膠裡閃著珠寶般的光澤。 Vanilla beans dominates the aroma, while white nectarines and white cherries shine like jewelry inside the gelatin.

5. 提起澳洲碼頭邊的極致美食，Peter Gilmore 是絕不可錯過的主角。 Speaking of the ultimate food around the Australian harbor, Peter Gilmore is the protagonist that definitely cannot be missed.

| Cuisine |

微型工藝

脆弱的精緻 Minature Craftsmanship Fragile Exquisiteness Text / Ethan Photo / PIAGET、Van Cleef & Arpels

Van Cleef & Arpels 梵克雅寶向精湛工藝致敬。一項嶄新工藝，「微型羽飾」工藝，將唯美的夢幻化為現實。在小小錶盤上將有機的羽毛與硬寶石結合，真實的羽毛重塑了飛鳥的美態，寶石襯托的微形美景，讓人禁不住對梵克雅寶細心體現大自然，歌頌自由與愛，喝采。梵 Van Cleef & Arpels pays a tribute to craftsmanship. The brand new craft,“miniature feather art”, turns dreams into n feathers and gems are integrated on the small reality. Organic Or dial. Real ffeathers reshape the beauty of the birds, while the gems set off the miniature scenery. People cannot help but applaud Van Arpels’careful reflection of nature, and praise its spirit of Cleef & Arp 1

freedom and love.

1. 梵克雅寶 Lady Arpels Cardinal Carmin 腕錶，讓永恆靈感泉源的飛鳥在硬寶石細工鑲嵌塑造的錶盤上展翅翱翔。錶圈鑲嵌鑽石，錶冠單鑲一顆鑽石，限量 22 只。 The Lady Arpels Cardinal Carmin watch has a face that features a bird flying amidst diamond patterns that are crafted to perfection. Its bezel is embedded with diamonds, and crown features a large diamond. Only twenty-two of these watches have been produced.

2. 微型羽飾工藝是精確掌握天然鳥羽材質的一門藝術。飛鳥身披萬千羽毛，不同品種呈現濃淡不一的色彩、光澤和質感。 Miniature feathers are artfully crafted to capture every detail. These birds have thousands of feathers, with each species featuring their own unique color, texture, and luster.

微

型羽飾工藝是精確掌握天然鳥羽材

克雅寶的微型羽飾工藝，嘆為觀止。

質的一門藝術。鳥兒身披萬千羽

毛，不同的品種呈現濃淡不一的色彩、光澤和質感。藝術家活用不同鳥羽，輔以光影，營造出彷如立體浮雕的錯視美感。這

非凡工藝錶盤腕錶 Oiseaux Enchantés Extraordinary Dials

是 Van Cleef & Arpels 梵克雅寶與羽毛藝術家 Nelly Saunier 攜手的藝術結晶，化為 3D 立體藝術的天然羽毛妝點著栩栩如生的飛鳥姿態，映照出動人亮澤。

紅衣鳳頭鳥披上代表愛情的深紅羽衣，飛越以翡翠、磷鋁石及血玉髓妝點成的高山低谷。鳥兒睥睨空靈的幽谷，細賞鑽石河川涓涓而流。披上靛藍色羽翼的蜂鳥在

工匠以媲美畫家的巧手，細心修剪羽毛每一根羽根羽的羽枝和羽鉤，確保每一根羽合構構圖所毛，色彩和質感都配合構圖所需，接著將鳥羽拼合，再調整，再再調整和形塑，準確重現雀鳥的自然姿態；飾以翡翠、土耳

鑽石及紫玉、鋰雲母及磷鋁石嵌飾的花間採蜜。大自然的感動在方寸錶盤採蜜大自然瑰麗融合，優雅悅目。瑰麗融合，

集琺瑯工匠、雕刻師、寶石匠、微繪師、寶石鑲嵌師等以匠、微繪繪師包括彩繪玻璃琺瑯、內填琺包括彩

其石或青金石等硬寶石石

瑯、金屬薄片嵌飾琺瑯、瑯、瑯

鑲嵌鋪排出飛鳥腳下

雕刻工藝、微型彩繪、雕

的自然美景，造型獨

珍珠母貝及硬寶石雕珍

一無二，精確度達至

刻等多種傳統工藝，刻

十分之一毫米，最後

每枚腕錶的錶盤均為每

呈現出多重深度立體

一幅微型圖畫，大大提

景觀於微縮景物中，梵

升製錶藝術層次。升製製錶

| High Jewelry |

1. 工匠細心理順羽毛上的羽鉤後，按原稿修剪並嵌入構圖中。藝術家活用鳥羽不同的厚度，輔以微妙的光影效果，營造出彷如立體浮雕的錯視美感。 By referencing the original design, artisans meticulously sculpt a feather’s every detail. Artists use layers of feathers and their varying thickness to achieve a distinct light and shadow effect, creating an aesthetic beauty similar to that of a three-dimensional relief.

2. 象徵幸福的翠鳥在梵克雅寶 Lady Arpels Martin-Pêcheur Azur 腕錶，土耳其石及青金石組成的深邃碧海上翱翔，美鑽鑲嵌的白浪為錶盤添上動感。 The kingfisher, an auspicious symbol, is featured on this Lady Arpels Martin-Pêcheur Azur watch. Turquoise and lapis lazuli are used to created an ocean background. Beautiful whitecap waves imbue the background with an sense of motion.

3. 大師級工匠按設計原稿所需，細心從鳥兒的霓裳上，萃選合適的羽毛，並根據鳥羽結構，挑選色彩微妙細緻、在所需角度下能映照出動人亮澤的部分。 To bring each design to reality, master artisan craftily select the appropriate feathers for each bird, and carefully choose the colors that best show off their luster.

4. PIAGET Altiplano 羽毛鑲嵌工藝腕錶，精細鵝毛切割至適合錶盤設計的水滴形狀，以銀箔鑲飾細節，在錶盤上纖巧纏繞成圈。 The Piaget Altiplano Feather Marquetry watch has a watch face that features a unique waterdrop design, which is crafted using a refined cutting technique. Its silver inlaid details form an intricate pattern that encircles the watch face.

5. 璀璨美鑽點綴在輕如飛絮的羽毛錦繡花束中，綻放於 Secrets of Venice 白金手鐲中，烘托中央鑲嵌一顆祖母綠寶石。 Brilliant diamond embellishments are like feathers floating amidst a bouquet. At the center of the Secrets of Venice platinum bracelet lies an inlay of an emerald.

羽化生輝

-LH[OLY VM )YPSSPHUJL PIAGET 伯爵奪人心魄的蛋殼細工漆

Altiplano 腕錶

藝（eggshell-inlaid lacquer）、金屬微

如威尼斯面具謎樣般

雕（bulino engraving）或微砌馬賽克

扣人心弦，弦在純粹的線條

（micro-mosaic）等非凡工藝，薈萃於

上傾注羽毛嵌花圖案，構成迷人的時間

方寸間，捕捉自然神韻於一心。

之輪。由藝術家 Emilie Moutard-Martin 個別切割成微細嵌片的羽毛，經銀箔

歷史長河中綻放沉靜的光輝、蕩漾

潤飾後逐片鑲嵌於錶盤上，組成細膩

著文化寶藏神秘迷人的魅力，啟發伯爵

動人的圖案。羽毛豐潤細緻的質感，

的「Secrets of Venice」系列。在臻至典

在藝術家手中化成玫麗構圖。羽飾再

範的羽毛裝飾、琺瑯、微砌馬賽克和雕

一次在錶盤和高級珠寶創作上，呈現

刻藝術工藝映襯下，伯爵和盛名的藝術

懾人立體層次，不急不徐、不快不慢，

巨匠締結大膽奪目的裝飾工藝腕錶及

待羽毛漸豐，那脆弱的羽化綻放著栩

手鐲，絕美呼應。

栩如生的魅力。

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| Wine |

日本酒不僅在日本飲食文化中扮演著重要的角色，更是獨樹一格的日本文化精粹。然而，令人眼花撩亂的品牌和對日本酒的種種迷思，讓許多人望之卻步。今天就讓我們從原料談起，一同挖掘日本酒千變萬化的魅力。

日本酒初探

With Japanese culture and cuisine becoming increasingly popular, Japanese

Your First Sip of Japanese Rice Sake

terms, types, and brand names of sake

Text / Eva Tang Photo / Eva Tang、Victor Tang

has made it truly difficult for consumers to

sake is now receiving greater attention around the world. However, so many

choose the right one. Let us begin today by looking at the raw ingredients of Japanese sake and explore together the countless fascinating faces of Japanese sake.

什麼是清酒？燒酎也是清酒的一種？

後蒸餾而成，製成方式不相同，酒精濃度也較高。

清酒，又稱日本酒，是一種以米、米麴

除酒米外，一瓶日本酒裡約有 80% 的

及水為原料所生產的釀造酒，平均酒精濃

水，「水」對於日本酒的風味因而有著決定

度在 16-17 度間。而燒酎就像日本酒界的

性的影響。其中，水的軟硬度與酒質有著

威士忌，是蒸餾酒的一種，酒精濃度通常

密切的關係，例如，兵庫地區的「灘之宮

高於 20 度。

水」便是著名的硬水，礦物質豐富，打造出的日本酒有較立體的口感，整體俐落辛口，硬水代表作品如奈良縣油長酒造「風

日本酒＝米酒？！

之森」；而京都伏見的「御香水」則是著日本酒的原料之一是米，但非一般的

名的軟水，釀造出來的酒細緻柔美，俗稱

食用米，而是特別適合釀酒的「酒造好適

「女酒」，以軟水聞名的酒造如福井縣黑龍

米」，它具有米粒大、有心白、外硬內軟

酒造。

等特質，最富知名度的酒米包含兵庫縣「山田錦」和新瀉縣「五百萬石」等。如同葡萄品種為葡萄酒帶來風味上的差異，酒米也因種植地風土的特色，賦予清酒全然不同的風情與個性。值得留意的是，台灣的 1

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1. 在地人釀在地酒─日本的地酒文化。 The fascinating Jisake culture.

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給我大吟釀，其餘免談？本酒依法規可分為兩類，一是有著「吟釀」、「本釀造」等稱呼的「特定名稱酒」，其餘則為普通酒。台灣市場所熟悉的日本酒多半屬於特定名稱酒，又可再依釀造酒精的添加與否及「精米步合」程度再細分為八大類。

薰酒最大的特色便是花果般甜美芬芳的香氣，

鄉土料理─烤米棒鍋，可說是萬無一失的

以大吟釀和吟釀為主。適合獨飲，也可搭配白身

選擇；而當遇上土佐料理如稻香烤鰹魚，

魚刺身、柚子醋沙拉等清爽的料理，如十四代

則可選擇高知地酒如：有光酒造「安藝虎」

「雙虹」、伯樂星「殘響」。

或司牡丹酒造「船中八策」。

爽酒有著俐落爽朗的口感，適合冰飲；料理方面不僅適合搭配清爽蔬菜料理，也適合重口味的燒烤或中華料理，餐搭範圍廣泛。如八戶酒造「陸奧男山」、石本酒造「越乃寒梅金無垢」。醇酒以純米酒為主，具有濃郁芳醇的「旨」味（うまみ），口感厚實，可搭配壽喜燒、味噌煮

其中，精米步合度 50% 以下的「大吟釀」，由於精米度高，所需的技術與相應成

魚等；酒款如車多酒造「天狗舞山廢純米」、大七酒造「生愃純米」。

日本酒沒有明確保存期限，能保存多久的關鍵在於儲存環境，由於纖細的日本酒極易受到光線與溫度變化的影響產生酒質上的變化，會建議購入後一年內飲用，但

本較高，價格自然較為昂貴。然而，大吟

熟酒是經過數年時間熟成的日本酒，有著複雜

若能確保是在無光害且 0-3° C 恆溫狀態下

釀、吟釀與純米酒之間並無高低等級之分，

的香氣，適搭蒲燒鰻魚、大閘蟹、鴨胸等料理。

存放，則日本酒的適飲期可延長三年以上。

差別只在釀造規格的不同。

代表酒款如出羽櫻酒造的古酒「枯山水」及各酒造產量稀少的長期窖藏熟成酒如：須藤本家「花

酒米、水質、精米步合度、酒造風格、冰飲或熱

薰光 Vintage」。

四大分類輕鬆找到屬於你的日本酒

清酒可以放多久？

、玻璃杯或陶杯……，日本酒

在種種要素的交織下，為品飲者帶來多樣與葡萄酒餐搭原則相同的是，採用在地

的面貌與百變的風情。有了以上的基礎知

清爽到濃醇，日本酒風味百百款。如何

原料所打造的地酒與當地的鄉土料理絕對

識，便是掌握了進入日本酒深奧迷人世界

從酒海中挑出最適合的酒，可參考依香氣

是零失誤的訣竅。舉例來說，秋田地酒如

的鑰匙。下回用餐不妨運用以上提供的小

與口感分成的「薰、爽、醇、熟」四大類。

齋彌酒造「雪之茅舍山廢純米」搭配秋田

秘笈，挑選一瓶屬於你的完美日本酒！

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| Wine |

What Is Sake? (SIW 7LƚGLƴ Equals to Sake?

larger grain size, lower protein content,

areas with rich water resources. Water

a n d b i g g e r c o r e . We l l - k n o w n s h u z ˛

hardness, in other words, the amount

k˛tekimai include “ Yamada Nishiki ”

of mineral contents in the water is also

Sake, also known as nihonshu ( にほんしゅ),

from Hy˛go, and “ Gohyakumangoku ”

strongly linked to the quality and body

is a type of liquor made from rice, k˛ji,

from Niigata. Just as different types of

of the sake. For example, sake produced

and water with an average alcohol content

grapes resulted in different ﬂavor of wine,

in areas where the water is hard, such as

of 16-17%. Sh˛ch͌ can be viewed as the

different types of sake rice, carrying the

“nada-gogo” in Hyogo region, tends to have

whiskey in Japan, a type of distilled spirit

characters of the terroir they are cultivated

stronger body, richer texture, dry tone,

with an average alcohol content over 20%

in, brings sake different characteristics

and a crisp ﬁnish. Examples of sake made

after diluting.

and styles.

by harder water includes “ Kazenomori ” from Yucho Brewery in Nara. In contrast

%VI µ.ETERIWI 7EOI¶ ERH µ6MGI Wine” the Same?!

A point worth noting is that although the

to hard water, “Gokonomiya” from Kyoto’s

rice wine made in Taiwan is also produced

Fushimi-ku is a renowned soft water. The

from rice, it is made through distillation, One of the main ingredients of sake is rice – not the rice we normally eat,

resulting in an entirely different kind of

drink with a much higher alcohol content.

but a special kind of rice named “ shuz˛ k˛tekimai ” which are suitable for use in

Apart from the sake rice, a bottle

sake brewing. To be a shuz˛ k˛tekimai, the

of sake contains about 80 % of water,

rice hold characteristics such as having

therefore most sake brewery situated in

「特定名稱酒」的八個類別 ;OL LPNO[ JH[LNVYPLZ MVY ZWLJPHS KLZPNUH[PVU ZHRL 使用原料 Ingredients

米、米麴 Rice, kōji mold

米、米麴、規定量內的釀造用酒精 Rice, kōji mold, alcohol

純米 Junmai sake

70% and under

本釀造 Hon-Jouzon

60% and under

純米吟釀 Junmai ginjo、特別純米 Tokubetsu Junmai

吟釀 Ginjo、特別本釀造 Tokubetsu

純米大吟釀 Junmai daiginjo

大吟釀 Daiginjo

精米步合 Rice polished

50% and under

米、米麴、規定量外的釀造用酒精、其他副原料 Rice, kōji mold, alcohol, other side ingredient

普通酒 Futsu Shu

1. 日本酒品項繁多，同一個酒廠會有多個系列酒款。圖內為大七酒造的作品。（攝於台北吉力酒藏） There are a wide variety of Japanese sake. Even within one sake brewery, there are usually more than one series of product. Showing here are sakes produced by Daishichi Brewery. (Photographed in Taipei Kichiriki Sake Cellar)

Hon-Jouzon

2. 十四代播州山田錦中取大吟釀。果香豔麗迷人，層次豐富，甜潤飽滿，整體調性明亮柔美。 Takagi Sake Brewery Juyondai Daiginjo Nakatori Banshu Yamadanishiki. Captivating fruitiness with multiple layers of tastes and full body structure. Presenting an overall light and refreshing style.

註：釀造日本酒的酒米首要經過「精米」步驟，將米粒外圍會產生雜質的蛋白質與脂質削去，剩下的比例就是所謂的「精米步合度」。舉例說明，一粒米磨去 40% ，精米步合度即為 60% 。一般來說，精米步合度的數字越低，代表米粒外層雜質越少，所釀製的酒款自然也越清新柔順。

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Junmaishu, they are just different and distinguished by brewing specifications and techniques.

Finding the Right Sake Is Easy — Just Remember These Four Categories From light fruity notes to intense rice aromas, from crisp finish to rich texture, sake comes in a wide variety of flavors. To discover the most appropriate type of sake from the wide selection available, the 1

four categories based on the combination of aroma and flavor provide a handy instruction.

sake brewed from this kind of water is

Daiginjo, ” which has a rice polishing

delicate and smooth, with a gentle and

ratio below 50% and contains rice, k˛ji,

sweet texture, also commonly known as

and water only, is usually more expensive

“ Onna-Sake (Women ’ s Sake) ” . Breweries

than other categories and thus sometimes

renowned for their use of soft water

be mistaken as the most superior sake.

Aromatic sake is suitable for enjoying on its

include Kokuryu Brewery in Fukui and

However, Daiginjo should not be labeled

own or paired with light dishes such as white-

as the best when comparing to Ginjo or

ﬂesh sashimi and tofu salad. Well-known brand

Fujioka Brewery in Kyoto Fushimi.

Give Me Daiginjo or Nothing at All?

Aromatic Sake (Kun-shu) is identified by its floral or fruity fragrance, Daiginjo-shu and Ginjo-shu tend to fall mostly in this category.

「薰•爽•醇•熟」─日本酒四大分類座標圖 ;OL MV\Y JH[LNVYPLZ VM 1HWHULZL ZHRL 香氣高 High Aroma

According to Japanese Liquor Law, sake is divided into two categories -- “Tokutei Meish˛-shu (Special Designation Sake) ”

薰酒くんしゅ Aromatic

such as “ Ginjo-shu ” and “ Honjozo-shu ” ,

熟酒じゅくしゅ Aged

and “ Futs͌-shu (Ordinary Sake) ” . Most

◆花果類優雅而華麗的香氣

◆乾果、香料等複雜成熟且豐潤的香氣

◆柔美絲滑的口感與清爽的酒感

◆充滿個性且強而有力的酒體與酒感

sake we see today in Taiwan belongs to the

◆杯型：葡萄酒杯、大吟釀杯

◆杯型：漆器、白蘭地杯

Special Designation Sake category, which

◆溫度：10-15℃

◆溫度：15-25℃

can be further divided into eight sub-

味道淡麗

味道濃醇

Light Body

Rich Body

categories distinguished by the degree to

爽酒そうしゅ Refreshing

which the rice has been polished and the

醇酒じゅんしゅ Rich

added percentage of brewer ’ s alcohol or

◆清爽的氣息

◆濃郁芳醇的「旨」味

◆輕快爽朗的口感和俐落的酒感

◆圓潤厚實的口感

the absence of additives.

◆杯型：玻璃杯、白瓷杯

◆杯型：陶杯、瓷杯

◆溫度：5-10℃

◆溫度：15-55℃

香氣低 Low Aroma

One of the sub-category -- “ Junmai

禁

止

酒

駕

酒

後

| Wine |

names include “Juyondai Soko”, "Hakurakusei

brewery’s “Sen Tyuu Hassaku” can never

rice polishing ratio, brewery styles, served

Zankyo ” , and “ Toyo Bijin Aiyama Junmai

do wrong.

warm or cold, in a glass or a ceramic cup,

Daiginjo”.

which unfold an already dynamic sake

Refreshing Sake (So-shu) has a crisp and dry texture and performs best when served chilled. It is versatile and can easily go with almost

What Is the Shelf Life of Sake?

with even more looks and characteristics. Now that we have established a basic foundation of sake, we have hold the key

all kinds of food from vegetable dishes that

Sake does not have a specific shelf

to entering this profound and dazzling

l i f e . H o w e v e r, b e c a u s e t h e y a r e s o

world. Next time when you go out for a

delicate, exposure to light and dramatic

meal, why not treat yourself with a bottle

Hachinohe brewery ’ s “ Mutsu Hassen ” and

temperature ﬂuctuations can be dreadfully

of sake!

Ishimoto brewery’s “Koshi no Kanbai”.

damaging. Generally speaking, consumers

Rich Sake (Jun-shu) is rich in “umami” (うまみ)

are advised to drink the sake within one

and presents with complex aroma and texture.

year of purchase. Only if the storage

Most Junmaishu locate in this matrix. It can be

circumstances is secured under stable

are light and refreshing, to Chinese cuisine or grilled meat that are heavier or with lots of spice. Examples of refreshing sake include

served in small pottery or porcelain cups and

temperature (0 to 3 C) with no exposure to

can be enjoyed from room temperature to hot.

light, the sake can extend its shelf life to 3

Consumer can pair it with Sukiyaki, hot pots,

or even 5 years.

Different sake should be served at different temperature. In the image is a professional sake heating device. (Photographed in Hong Kong Godenya)

and miso fish. Some examples include Syata Syuzou brewery ’ s “ Tengumai ” and Daishichi

2. 地酒配鄉土料理，有光酒造「安藝虎」純米吟釀與高知縣稻香烤鰹魚。（攝於日本高知市弘人市場ひろめ家） Arimitsu Brewery's Akitora Junmai Ginjo paired with Kochiken's local food: Katsuo Tataki. (Photographed in Hiromeya, Hirome Market, Kochi City)

Many different factors come into play

brewery’s “Junmai Kimoto.” Aged Sake (Juku-shu) has a deep and complex

1. 不同的清酒有不同的適飲溫度。圖為餐廳的專業溫酒器具。（攝於香港 Godenya）

when consuming sake – the rice, the water,

aged aroma. It is relatively rare and requires years of maturation. It is suitable to be enjoyed at room temperature or warmed and can be paired with grilled eel, crabs, and duck breast. Famous brands include Dewazakura brewery’s “Karesansui” and Sudohonke brewery’s “Hana-

awase Vintage”.

Just as the general rule for wine and food pairing, you can never go wrong pairing locally brewed sake, “Jizake,” with local cuisine. For example, Akita Jizake -Saiya Shuzouten brewery’s “Yukinobousha” paired with local Akita dishes -- Kiritampo Nabe (Rice Stick Hot Pot) is always a safe bet. For Tosa dishes such as grilled bonito and Shimanto River seaweed tempura, choosing Kochi’s Jizake such as Arimitsu brewery ’ s “ Tosashu ” or Tsukasa Botan 2

不

開

車

安

全

有

保

障

機械美學大師

費爾南 • 勒澤 The Master of Machine Aesthetic—Fernand Léger Text / Claire Liao 廖培娟 Photo / Top Photo Group 達志影像

承自塞尚、與立體派並行、開創機械美學主義、影響普普藝術等流派的現代藝術大師，勒澤，入世而獨行的風範，展現了二十世紀最貼近時代脈動的活力與壯麗。 Throughout his artistic career, which lasted more than fifty years, Fernand Léger embodied the legacy of Cézanne’s style, moved hand-in-hand with Cubism, created the machine aesthetic and influenced Pop Art as well as other art schools, establishing his worldly and distinctive artistic paradigm.

| The Artist |

912 年被藝術史評論家米高 • 瑟佛

欣賞的藝術；而槍砲坦克等戰爭機器的力

到了 1920 年代末，勒澤的聲名已遠播

譽為「也許是整個法國繪畫史上最美

量亦揭示機械將在人類生活中占有重要角

至大西洋彼岸，1931 年他首度造訪紐約與

麗的時刻」。這一年是畢卡索與布拉克領軍

色。勒澤的「機械美學」並非冰冷無情，

芝加哥，受洛克斐勒委託製作大型壁畫，

的立體派發展到達頂點的一年，也是立體

相反地，他作品中無論是人物、靜物、風

1935 年紐約市立現代美術館為他舉辦大型

派第四員大將勒澤作品的成熟階段。這三

景都充滿人性的溫暖與積極的光明面，將

展覽。第二次世界大戰期間勒澤移居美國，

位重要藝術家都在塞尚的繪畫中獲得啟發，

有機體以宏大、壯麗、不矯飾的情感呈現，

於耶魯大學任教，戰後返回法國，此時當

促使立體派成為現代藝術首次抽象形式的

在他眼中的機械之美。

代流行生活的景致：假日馬戲團的雜技演員、大樓建築工事的工人、公共泳池內穿

表現。其中勒澤的畫面偏好使用圓柱形、管形，評論家特別稱之為「Tubism」。

「美無所不在，廚房白牆上鍋盤的擺設

梭的跳水者、閒暇的鄉間郊遊等躍上畫面。

也許更勝於一間十八世紀起居室之美，甚 1914 年第一次世界大戰爆發，33 歲的

或公立美術館。」現代都市中閃耀雜陳的

「在這變化迅速、擾亂心神的生活中，

勒澤亦入伍服役。從巴黎藝文薈萃的中心

街燈、告示牌、鋼筋、起重機等，在勒澤

讓我們慢下腳步，保有平靜與安寧的力量。

點，霎時與藍領階級一同面對生死，勒澤

的畫面上羅織萬花筒般的讚歌。形、色、

跳脫身邊崩解的元素，穩定而沉靜地去理

看見最坦率直接的人性美好，他忘卻了先

光，相互交疊追逐，都市生活的美感被轉

解生命。……緊繃的節奏已成為常態，確

前愈發抽象的創作，致力描繪能為所有人

譯為機器運作的詩意韻律與快節奏。

認目標並堅持下去，緩慢踏實地邁向未來的成就。」─費爾南 • 勒澤。

勒澤的作品收藏於世界各主要美術館，包括巴黎龐畢度藝術中心、紐約大都會美術館、紐約市立現代美術館、古根漢美術館、費城美術館、芝加哥美術館、倫敦泰德美術館等。1955 年勒澤逝世於法國，在畢卡索、布拉克、夏卡爾等同期藝術巨擘的參與下，1960 年 5 月法國國立勒澤美術館開幕，蔚藍海岸線再添上一處不可錯過的瑰寶。

1. 色彩、線條、造型同等重要，自由無拘束地和諧。 Colors, lines and shapes are equally important, forming into a free and unconstrained harmony.

2. 大師的對視─勒澤與卡爾德勾勒的勒澤肖像。 “Fernand Léger”—Fernand Léger with his wire portrait made by Alexander Calder.

3. 1919 年《城市》充滿速度感、霓虹燈甚至各式吵雜的聲響。 “ L a V i l l e ” ( “ T h e C i t y ” ) , c r e a t e d i n 1 9 1 9, revealing the full sense of speed, full of neon advertisements and various noises.

humanity shining in the most honest and truthful way. Forgetting his previous style, which had started to become increasingly abstract, he began to delineate the art that was accessible to everyone. The power of war machines, such as guns and tanks, also revealed how machines were about to play important roles in men ’ s lives. Léger’s “machine aesthetic” was not cold and heartless. On the contrary, the themes of his works, be they people, still lives or landscapes, all reflected the warmth and positivity of humanity. He represented the subject matters in a magniﬁcent, grandeur and unaffected way, showing the beauty of machines in his eyes.

“The beautiful is everywhere. Perhaps

more in the arrangement of your saucepans on the white walls of your kitchen than in your 18 th-century living rooms or in the official museums. ” Léger harnassed the jumbling street lights, billboards, rebar, and cranes into kaleidoscopic paeans to modernity. Shapes, colors and lights overlap one another, interpreting the poetic rhythms of machinery and the fastpaced urban beauty.

By the end of the 1920s, Léger’s reputation had spread across the Atlantic. He ﬁrst visited New York and Chicago in

The year 1912 was deemed by Michel

school of modern art to manifest in the

1931 , and was commissioned to make a

Seuphor, art historian and critic, as

form of abstraction. For Léger preferred

large mural by Rockefeller. The Museum

“ perhaps the most beautiful date in the

to construct his composition from bold

of Modern Art (MoMA) held a large

whole history of painting in France. ”

cylindrical and tubular shapes, critics

exhibition for him in 1935. Léger moved

It was the year that Analytic Cubism,

even dubbed his style as “Tubism”.

to the U.S.A. during World War II and taught at Yale University. He returned

led by Picasso and Braque, reached its

culmination, as well as the period when

The World War I erupted in 1914, and

to France after the war. There, scenes of

Léger, the fourth key member of Cubism,

Léger also enlisted at the age of 33. From

popular life leaped onto his canvas, such

had reached maturity in his artistic

Paris, the center of culture and art, to the

as vaudevillians of the holiday circus,

creation. Inspired by Cézanne’s paintings,

battlefield, where he fought with blue-

construction workers, divers leaping into a

these three artists made Cubism the first

collar workers, Léger saw the beauty of

public pool, and country outings.

| The Artist |

“ Let us take our time in this fast and

Léger’s works are collected by all major

National Fernand Léger opened in May,

ever-changing life, which harasses us and

museums around the world, including

1960 . A gem that should be treasured

tears us to pieces, so that we have the

the Centre Pompidou, the Metropolitan

forever was thus born on the azure

strength to remain slow and calm. To work

Museum of Art, the Museum of Modern

coastline.

outside the elements of disintegration that

Art (MoMA), the Guggenheim Museums,

surrounds us. To comprehend life in its

the Philadelphia Museum of Art, the

slow and calm sense... In this heightened

Art Institute of Chicago, Tate Modern

tempo that is the law of life, to determine

and other large museums. In 1955,

fixed points to hold onto them and to

Léger passed away in France. Under the

slowly work on the achievement of the

patronage of Picasso, Braque, Chagall

future.” – Fernand Léger.

and other art masters of his time, Musée 1. 晚期最著名也是最受歡迎的系列之一，建築工人是戰後重建的無名要角，在高聳入雲的鋼鐵間穿梭，黑白與三原色明快樂觀。 “Les Constructeurs, état définitif” (“The Builders”), one of the most popular series in his late years. Construction workers, the unsung heroes after the war, move between tall struts that stretch into the clouds. Black, white and the three primary colors appear bright and positive.

2. 位於法國南部畢歐的國立勒澤美術館。 Musée National Fernand Léger in Biot, southern France.

3. 立體派時期作品《婚禮》收藏於巴黎龐畢度藝術中心。 “La Noce” (“The Wedding”), created in the Cubism Period, housed in Musée National d’Art Moderne.

4. 1921 年《三裸女》，戰後藝術圈興起一股回歸古典的風潮。豐腴卻堅實的女體、時尚感的室內裝潢、好萊塢式側分平板波浪髮，是勒澤式的機械美學。

“Le Grand Déjeuner” (“Three Women”), created in 1921. A classic example of what is known as “return to order” which was widespread in French art after the chaos of World War I. The rounded, firm and buffed female bodies, the chic interior design and the Hollywood-style wavy hair are representations of Léger’s machine aesthetic.

The Guggenheim Effect

古根漢效應布里回顧展 Alberto Burri Retrospective Text / Jason, Chung Tang Yen 嚴仲唐 Photo / Guggenheim New York 紐約古根漢

| Issue |

當全球私人美術館崛起的同時，歷史悠久的美術機構與博物館的影響力更是不容小覷，尤其是國際性的大型重要美術館更是在藝術界牽引著整體的神經動態，不管是學術研究、大眾教育、反映或背離市場，紐約古根漢就是一個典型的案例。 As the rise of private museums continues to develop, the influence of art institutions and museums is substantial; especially with major and prominent international museums, which play a pivotal role in the mechanism of the artworld, no matter it’ s academic research, public LK\JH[PVU H YLÅLJ[PVU HJJVYKPUN [V VY JVU[YHY` [V [OL THYRL[ [OL .\NNLUOLPT 4\ZL\T PU 5L^ York is a classic case.

與

許多美術館一樣，因為藝術家的重要藝術史地位，會與藝術市場不相

而合，前一陣子的日本藝術家河原溫的回顧展也造成他的作品在藝博會與拍賣上僧多粥少。

從倫敦的拍賣市場觀察，其實紐約與歐洲幾乎沒有距離，當歐洲市場在瘋狂義大利藝術，此次紐約古根漢展出的是義大利 ZERO 流派的藝術家阿爾貝托 • 布里回顧展。展覽品質如以往經典，因為前館長與藝術家有深厚的友誼，此次是該美術館第二次為布里展出回顧展。很顯然的，美術館已經發展出另類的指標性，當學術結合商業，後續的可能性與未來有光明也有隱

憂，但這毫無疑問的是無法避免的趨勢。派，更加的證實藝術界無國界的全球性。布里的作品是在義大利藝術家方塔那的

布里的創新改變了繪畫的傳統價值觀，打

市場飆漲後受到私人交易市場的關注，值

破人們對於平面藝術的刻板印象。活躍於

得一提的是，方塔那近期也在巴黎市立現

1950 年代的紐約與羅馬，觀眾好像回到

代美術館舉辦過大型回顧展，巴黎市立現

了當時的時代，觀看布里的作品會驚豔經

代美術館最近也幫哈林辦過該藝術家於法

過半個世紀後竟然還能如此的鮮明，創新

國的第一次大型回顧展，這幾位藝術家都

的大膽與獨特程度足以獨撐一面。

是市場上非常受歡迎的大師。從私人二手買賣、私人拍賣延續到國際大型拍賣，美

在觀察藝術界的所有環節時，公共與私

術館與公共機構的美術教育形成了共生關

人美術館是不可或缺的重要角色，而許多

係，尤其是許多收藏家與美術館機構的密

國家的首都更是充滿著數不清的美術館，

切贊助習慣，促進學術與商業的交流。

造訪紐約更是不可不去大都會美術館與其分館 The Cloisters、現代美術館與其分館

義大利的 ZERO 流派有許多優秀的藝術家，許多人都會聯想到日本的具體畫

PS1、與新畫廊。

1. 布里於他在義大利卡斯泰洛城的工作室，拍攝於 1982 年。 Alberto Burri in his studio in Case Nove di Morra, Città di Castello, Italy, 1982. Aurelio Amendola © Aurelio Amendola, Pistoia, Italy.

2. 紐約古根漢美術館 1959 年 10 月至 1960 年 6 月的開館首展現場，從左至右第三件作品為布里的 1956 年作品《木頭與白 1》。 Inaugural Selection, Solomon R. Guggenheim Museum, New York, October 21, 1959 – June 19, 1960. Third from left: Alberto Burri’s “Legno e bianco 1” (Wood and White 1, 1956). © Solomon R. Guggenheim Foundation, New York.

Like many museums, the program

provide additional value markings. When

further accelerates the exchange and

may converge with the market due to

academia meets business, the underlying

interaction between the academic and

the status of the artists in art history,

possibilities and future is both bright and

commercial sectors.

for example, the recent On Kawara

worrisome, but the merger of the two is

retrospective contributed to his popularity

inevitable.

in international auctions. Burri ’ s works gained much attention

Observations can be made from the

after Italian artist Lucio Fontana

London auction market, London and

skyrocketed in the private markets. It

New York practically almost have no

might be worth mentioning that Fontana

distance, when the European market is

recently had a major retrospective at the

crazy about Italian art, the most recent

Musée d’Art Moderne de la Ville de Paris,

major retrospective at the Guggenheim in

the museum in Paris also held the first

New York features Alberto Burri from the

major retrospective of Keith Haring in

Italian group ZERO. The quality of the

France, the names are all popular masters

show is elegant and classy as always, as

in the market, museums and public

Burri had a long lasting friendship with

institutions’ art education form a symbiotic

the previous director of the museum, this

r e l a t i o n s h i p w i t h o n e a n o t h e r, w i t h

is his second major showing in the space.

many collectors ’ support and dedicated

It is safe to say, museums have grew to

patronage to museum institutions, this

1. 布里《大黑裂紋》1977 年丙烯與聚醋酸乙烯酯於保溫板 149.5 x 249.5 cm 巴黎龐畢度中心館藏，1978 年由藝術家贈與。 Alberto Burri, “Grande cretto nero” (Large Black Cretto), 1977, acrylic and PVA on celotex, 149.5 x 249.5 cm Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle, Gift of the artist, 1978. © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello/2015 Artists Rights Society (ARS), New York/SIAE, Rome Photo: © CNAC/MNAM/ Dist. RMN-Grand Palais/Art Resource, New York.

2. 布里《紅色塑膠》1961 年 PVC 塑料、丙烯與燃燒處理於 PE 塑料與黑布料 142 x 153 cm 現代藝術基金會收藏 Alberto Burri, “Rosso plastica” (Red Plastic), 1961, plastic (PVC), acrylic, and combustion on plastic (PE) and black fabric, 142 x 153 cm Modern Art Foundation © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello/2015 Artist Rights Society (ARS), New York/SIAE, Rome Photo: Massimo Napoli, Rome, courtesy Modern Art Foundation.

There are many talented artists in the Italian ZERO movement, many may link to Japan’s GUTAI group, this proves art has no boarders with its globalism. Burri’s creativity and pioneering concepts revolutionized the traditional values of painting, he broke the archetypal impression of two-dimensional art. Active in Rome and New York in the 1950’ s, visitors to the exhibition seemed to have entered and time warp back to the past, upon close examination of Burri’s works, 2

the audience may be shocked at the freshness of Burri ’ s oeuvre after more than half a century later, the ingenuity and boldness still resonate in Wright ’ s

in many capitals, there are numerous

beautiful interior.

museums, when visiting New York City, the Metropolitan Museum of Art, The

When observing all the different

Cloisters, Museum of Modern Art, PS 1 ,

sectors of the artworld, public and

and Neue Galerie are deﬁnitely all on the

private museums hold an important part,

A-list.

3. 布里《大白塑膠》1964 年 PVC 塑料燃燒處理、鋁框 191.8 x 292.1 cm 格倫史東私人美術館收藏 Alberto Burri, “Grande bianco plastica” (Large White Plastic), 1964, plastic (PVC) and combustion on aluminum framework, 191.8 x 292.1 cm, Glenstone © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello/2015 Artists Rights Society (ARS), New York/SIAE, Rome Photo: Tim Nighswander/ IMAGING4ART, courtesy Glenstone.

4. 布里《鐵 SP》1961 年焊接鐵片、油彩、釘子於木框 130 x 200 cm 羅馬國家現當代美術館收藏 Alberto Burri, “Ferro SP” (Iron SP), 1961, welded iron sheet metal, oil, and tacks on wood framework, 130 x 200 cm. Galleria nazionale d’arte moderna e contemporanea, Rome © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello/2015 Artists Rights Society (ARS), New York/SIAE, Rome Photo: Antonio Idini, Soprintendenza alla Galleria nazionale d’arte moderna e contemporanea, courtesy Ministero per i Beni e le Attività Culturali e del Turismo.

Life Gallery 生活藝廊 Dior 崛起地平線彷彿天光純淨透亮 Text / Angela Photo / Dior

「我希望這季的時裝能夠彰顯一種純淨氣

毛邊雪特蘭（Shetland）針織網眼巧妙混搭為一

質」，Dior 創意總監 Raf Simons 凝聚極致複雜

體，透過簡約而純淨的線條展現時空感，時而

的裁縫工藝，將維多利亞風格內衣、斜邊裁剪

嫵媚、時而陽剛，流暢溫婉，片刻永恆。

的透明蟬翼紗洋裝、Dior 著名的 Bar Jacket 和

（+886 800 862 668）

少女顏膠原蛋白增生三合一 Text / 凱莉 Photo / 安和旭麗

女為悅己者容，王菲引領「童顏針」微

白自我增生，長時間的持續填充，支撐

整風潮後，2012 年由荷、英共同研發生

肌膚，達到填補緊實雙重效果。

產，並獲得 2011 年歐洲注射皮膚注射

劑創新大獎的─依戀詩。奇肌少女針，

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