羅芙奧季刊第29期 Ravenel Quarterly No. 29 by Ravenel International Art Group

羅芙奧 20 週年特刊

Timetable of Ravenel Autumn Auctions 2019 羅芙奧2019秋季拍賣會時程表場次 Event

部門/品項

Section/ Items

亞洲現代與當代藝術

Modern and Contemporary Asian Art

台中預展

薈萃：國際現代與當代藝術

Select: Modern & Contemporary Art

Taichung

尊釀雲集

Finest and Rarest Wines

Preview

高雄預展 Kaohsiung Preview

香港預展 Hong Kong Preview

翰墨丹青－中國書畫專場

Refined Brushwork: Fine Chinese Paintings

秋季鑑賞會：手袋及精品

Private Sale : Timeless Handbags & Luxury Collectibles

亞洲現代與當代藝術

Modern and Contemporary Asian Art

薈萃：國際現代與當代藝術

Select: Modern & Contemporary Art

尊釀雲集

Finest and Rarest Wines

翰墨丹青－中國書畫專場

Refined Brushwork: Fine Chinese Paintings

日期 / 時間 Date/Time

11/09 (六) 11/10 (日)

11/16 (六) 11/17 (日)

Preview

台北拍賣

秋季鑑賞會

FONG-YI ART GALLERY B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

琢璞藝術中心高雄市前金區五福三路63號8樓 J. P. ART CENTER 8F, No.63, Wu Fu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

秋季鑑賞會：手袋及精品

亞洲現代與當代藝術

Modern and Contemporary Asian Art

薈萃：國際現代與當代藝術

Select: Modern & Contemporary Art

11/23 (六)

翰墨丹青－中國書畫專場

Refined Brushwork: Fine Chinese Paintings

11/24 (日)

尊釀雲集

Finest and Rarest Wines

GRAND HYATT HONG KONG Lounge, M/F, 1 Harbour Road, Hong Kong

尊釀雲集

Finest and Rarest Wines

11/28 (四)

萬豪酒店台北市中山區樂群二路199號3樓博覽廳

亞洲現代與當代藝術

Modern and Contemporary Asian Art

薈萃：國際現代與當代藝術

Select: Modern & Contemporary Art

翰墨丹青－中國書畫專場

Refined Brushwork: Fine Chinese Paintings

尊釀雲集

Finest and Rarest Wines

11/29(五) 11:00am

翰墨丹青－中國書畫專場

Refined Brushwork: Fine Chinese Paintings

11/30 (六) 3:30pm

薈萃：國際現代與當代藝術

Select: Modern & Contemporary Art

12/01 (日) 1:00pm

亞洲現代與當代藝術

Modern and Contemporary Asian Art

12/01 (日) 2:00pm

手袋及精品

Private Sale : Timeless Handbags & Luxury Collectibles

11/28 (四)~12/01 (日) 10:00am~7:00pm (Salon III~IV)

Taipei Auctions

豐藝館臺中市西區五權西路一段110號B1

Private Sale : Timeless Handbags & Luxury Collectibles

台北預展 Taipei

地點 Venue

11/28 (四)~11/30 (六)

香港君悅酒店香港灣仔港灣道1號中堂閣樓

MARRIOTT TAIPEI Grand Space, 3F, No. 199, Lequn 2nd Rd. Zhongshan Dist., Taipei, Taiwan 萬豪酒店台北市中山區樂群二路199號3樓博覽廳 MARRIOTT TAIPEI Grand Space, 3F, No. 199, Lequn 2nd Rd. Zhongshan Dist., Taipei, Taiwan

CMY

CONTENTS No.29 ｜ Autumn 2019 ｜ https://ravenel.com/

20TH ANNIVERSARY

與大師對話，走過經典年華羅芙奧二十週年特展精采回顧 Dialogue With Masters A Tribute To The Classics Ravenel Art Group's 20th Anniversary Exhibition 16

ART & INVESTMENT

始於街頭塗鴉：KAWS顛覆全球藝術市場面貌 Starting With Street Graffiti: Kaws Subverts The Face Of The Global Art Market 32

THE ARTIST

傑哈．賈胡斯特的當代古典繪畫 Gérard Garouste's Contemporary Classical Painting 36

WINE

人定勝天－淺談波爾多混釀工藝 Conquering The Nature－ An Overview Of Bordeaux Blend 40

喝酒不開車 36 4

安全有保障

LUXURY

愛馬仕珍稀皮件的傳奇與現實

Of Hermès And Leathers, The Real Legends

發行人 Publisher / 王鎮華 Arthur Wang 監製 Managing Director / 李雅欣 Wendy Lee 總編輯 Editor-in-Chief / 陳惠黛 Odile Chen 主編 Managing Editor / 葉子微 Gina Yeh 編輯 Editor / 陳怡潔 Josephine Chen

發行所 Published / 羅芙奧股份有限公司 Ravenel Ltd. 地址 Address / 10683 台北市敦化南路二段 76 號 15 樓之 2 15F-2., No. 76, Sec. 2, Dunua S. Rd., Taipei 10683. Taiwan 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 電子信箱 email / info@ravenel.com

FINE CHINESE PAINTINGS

天地間皆為圖畫，圖畫中自有天地— 黃君璧 48

文化遺產

「弱」建築 50

天國之門

FASHION

羅芙奧藝術集團台北辦公室台北市敦化南路二段 76 號 15 樓之 2 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 羅芙奧藝術集團香港辦公室香港中環金融街 8 號國際金融中心二期 19 樓電話 Tel / +852 2889 0859 傳真 Fax / +852 2889 0850

時尚DNA 奢華2.0 PRADA當代藝術 58

FASHION

羅芙奧藝術集團北京辦公室 100022 中國北京市朝陽區建國路 118 號招商局大廈 7 層 730 室電話 Tel / +86 10 8587 8099 傳真 Fax / +86 10 8587 8199

新世代出口網路迷因 Internet Meme

CUISINE

全球50大最佳餐廳 68

羅芙奧藝術集團上海辦公室 200050 中國上海市長寧區鎮寧路 465 弄 181 號 1 幢 2 樓 2E 電話 Tel / +86 21 2411 9575 傳真 Fax / +86 21 2411 9570

AGENDA

斯丁格爾的魅力 The Stingel Charm

羅芙奧20週年特刊

[ CHIEF EDITOR'S NOTE ]

邁向更多的 20 年 TOWARD A BETTER FUTURE! 2019 年 6 月，羅芙奧歡慶她的 20 歲生日成年禮，以豐盈華麗的特展與各主題專場拍賣佳績回報關注她的好友們。2019 年秋冬，距離 1999 那年台灣驚人天災地震後的首場拍賣，恰恰已兢兢業業地過了 20 個寒暑。每一場拍賣會，皆可見諸多藝術大師天賦才華的展現，以及藝術藏家們的信任付託與期代。懷著感恩的心情，謝謝陪伴我們一起走過青春時代的您。 Maurice DE VLAMINCK 莫里斯．德．烏拉曼克（法國 1876 - 1958）《璀璨綻放》約1935-38年油彩畫布 65 x 50 cm

Ravenel 第 29 期季刊為上精彩無比的篇章：例如以惡搞廣告、藝術玩具大大翻轉當代藝術市場樣貌的美國藝術家 KAWS / Brian Donnelly、重現古典但丁神曲故事的法國當代大師賈胡斯特 Gérard Garouste、天地皆為圖畫的渡海大家黃君璧…，隈研吾 Kengo Kuma 為東京奧運打造的主場館計畫、經典工藝 HÈREMES 皮件傳奇、時尚當代藝術 PRADA、新世代網路迷因。巴黎 10 座最接近天堂的教堂建築，極樂享受的全球 50 大最佳餐廳、波爾多紅酒混釀工藝…。 2019 年世界諸多改變正在發生中，台灣藝術市場板塊在亞洲所佔地位，因香港政局勢、台灣即將通過藝術品免稅等新聞事件後，益發關鍵重要。羅芙奧，作為台灣最大的藝術拍賣公司，深感肩負諸多收藏家與藝術同好的期許，不容稍許自滿或者放鬆。放眼未來，跨越國際市場的藝術品與藏酒投資將是前景大好的產業。您願意繼續和我們一起探索嗎？請關注羅芙奧 Ravenel，在未來精心策畫的每一場藝術盛會中都有您的參與。

總編輯

DIALOGUE WITH MASTERS A TRIBUTE TO THE CLASSICS Ravenel Art Group's 20th Anniversary Exhibition

與大師對話，走過經典年華羅芙奧二十週年特展精采回顧 Text / 戴衣薰 Felisa Dai

Photo / Ravenel International Art Group

歷史是什麼？是過去傳到將來的回聲，是將來對過去的反映。－雨果

[ 20TH ANNIVERSARY ]

2019 年適逢羅芙奧藝術集團二十週年誌喜，特別於春拍期間精心策畫「與大師對話，走過經典年華」特展，選粹了畢卡索、莫迪里亞尼、羅丹、常玉、陳澄波、伍澤樞、席德進等 26 位藝壇巨星，假萬豪酒店四季廳，分為藝術家自畫像與大師經典名作兩區，展出 20 件美術館等級的自畫像，及 7 件大師級的傳世名作，與藝術同好分享，回味經典時刻。

安迪．沃荷《毛澤東》 1973 油彩絹印畫布 66 x 56 cm Andy WARHOL, Mao (Orange), 1973, Oil and silkscreen ink on canvas, 66 x 56 cm 巴勃羅．畢卡索《朵拉．瑪爾畫像》 1939 油彩畫板 60.5 x 45.2 cm Pablo Picasso, Jeune fille aux cheveux noirs (Dora Maar), 1939, Oil on panel, 60.5 x 45.2 cm

推薦最具時代意義的藝術精品，一直是羅芙奧藝術集團創立以來一貫的期許與宗旨，綜觀二十年來琳瑯滿目的美術拍品，無疑是華人及亞洲現當代的藝術市場潮流縮影。「羅芙奧是一個有歷史使命的品牌，我們期許自己能持續且穩健地發揮關鍵的影響力，扮演好藝術收藏與藝術投資顧問的角色。二十年，真的很不容易，一路走來，需要很大的堅持。希望透過這次特展能呈現羅芙奧多年的用心，與專注專業的承諾，和大家一起分享收藏的樂趣、成長，與收穫。」集團董事長王鎮華表示。

藝術史群星閃耀，「自畫像」前與大師對話藝術史是一部眾星雲集的星譜，是人類文明最賞心悅目的史詩；藝術史裡每一位藝術家，就像一顆顆閃閃發亮的明星，眺望那滿天的星河，有著無數美麗奇幻的故事等著我們去發現、去探索，即使一千零一夜，也訴說不盡。西洋美術史中的「自畫像」創作主題可視作藝術家自我詮釋的深情獨白。此次大師自畫像精選東西方 19 位近現代及當代藝術家的 20 張自畫像，包含有華人第一代油畫家、台灣前輩藝術家、當代藝術家與西方名家大師。

馮鋼百的氣宇軒昂、陳澄波的溫厚儒雅、伍澤樞的帥氣陽剛、郎靜山的疊影自拍、劉海粟的桀傲不遜、烏叔養的氣節情操、秦宣夫的學養風範、沙耆的銳利目光、劉奇偉的赤子童心、席德進的陰柔耽美、劉國松的英姿勃發、顧福生的彩筆人生、周春芽的自信篤實、蘇旺生的憂國憂民、林鉅的靈肉達摩、連建興的魔幻島嶼、劉野的古典辯證，還有莫迪里亞尼的孤芳纖細、夏卡爾的天真浪漫，每一幅自畫像都毫不保留地展示了藝術家心靈深處的精神特質。跨越時空直接對視藝術家的自畫像，能更加理解藝術家天馬行空的異想世界，透過不同面向與大師對話。許多熱愛藝術的嘉賓相約專程前來欣賞美術史名家的丰采，對大師自畫像深深為之觸動，在畫作前駐足良久。與友人同來的藝術家林鉅看到自己久違的自畫像出現在展場，情緒波滔洶湧久難平復，對朋友說道：「兄弟，你看我是用盡生命在畫畫，把靈魂都畫出來了！」「平常拍賣預展不難看到這些名家的作品，卻很少能見到他們的自畫像，看這個展像是走進藝術名人堂，讓人不得不肅然起敬！」一位資深藏家這麼說。前來觀展的藝術同業們也表示特展質量俱精，整體規劃成功。連日來觀眾的交流相當熱烈，熱情的回饋讓羅芙奧團隊深受激勵。譬如台灣前輩藝術家陳澄波，較為人孰悉的是其所描繪的外光派台灣景致，卻不曾見過藝術家的肖像，很是驚艷；劉國松詮釋自己 22 歲時的樣貌，是那樣英挺，不難聯結其對大宇宙觀的壯志；每每詮釋經典名人的劉野，讓人揭開神秘面紗更顯新奇；周春芽同時可見 29 歲清純年少與 40 歲時成熟陽剛兩個時期，讓人玩味；席德進的自畫像在 2013 年創下 100% 成交率的「席德進藝術專拍—摯友的 30 年珍藏」中極具意義，讓觀者回憶起當時的盛況；莫迪里亞尼畫在木板上的自畫像曾在 2017 春季拍賣會中出現，再次現身更掀起熱烈討論與前來朝聖的人潮。

[ 20TH ANNIVERSARY ]

名作傳世，見證經典年華羅芙奧除了長期領先扮演著「20 及 21 世紀華人藝術」收藏顧問的角色，屢屢締造許多台灣拍賣史上新紀錄，另外還提供尊榮貴賓的私人洽購服務，為頂級藏家引薦傑出的西洋藝術大師作品。此次大師經典特展區即是特別商借私人洽購的作品展出，集聚了東西方大師堪稱博物館等級的精品，包含羅丹的《吻》、畢卡索的《朵拉．瑪爾》、夏卡爾的《農家少女》、亨利．摩爾《階梯上的女人》、杜布菲《拉法葉百貨公司》、安迪．沃荷《毛澤東》，還有華人傳奇藝術家常玉的《四裸女》，共七位重要大師的經典名作。這些傳世經典之作，可謂張張精彩，件件珠璣，見證羅芙奧追求精緻文化傳承的宗旨。一次聚集七位世界級大師的作品，實屬難得，社群媒體的報導推薦與藏家朋友口碑分享絡繹不絕，甚獲好評。其中畢卡索的《朵拉．瑪爾》創作於 1939 年，畫中的朵拉．瑪爾是超現實主義的攝影師兼畢卡索的情人，更是畢卡索創作名畫《格爾尼卡》的推手，同時也是畢卡索第一次允許自己在別人的觀看下作畫，朵拉全程陪著他，並把創作的每個階段用相機拍下來。畢卡索繪於同年的朵拉．瑪爾肖像《坐著的藍衣女人》，2017 年在紐約以 4500 萬美元的價格拍賣成交，印證羅芙奧引薦西洋名作的前驅眼光，更顯現台灣藏家的品味與實力以及對羅芙奧的肯定與支持。另外值得一提的是常玉的《四裸女》圖，此件作品創作於 1950 年代，畫中以純粹的色塊分隔裸女和背景，巧妙地闊展了畫面的空間感，襯托著慵懶而優美的裸女。畫中四位裸女彷彿悠閒地細語交談，無視外在的眼光，展現了常玉特有的東方含蓄美感。此作為羅芙奧 2001 年秋拍封面作品，亦是將常玉在拍賣市場奠基的第一把推手，更是此次經典大師區大家爭相打卡拍照的亮點。在藝術收藏與投資這條多彩多姿的路上，羅芙奧深深感謝廣大藏家朋友二十年來一路的支持與相挺。「與大師對話，走過經典年華」，正是羅芙奧以感恩與回饋的心，呈獻給諸位尊榮貴賓的二十週年特別獻禮！

常玉《四裸女》 1950s 油彩纖維板 95.5 x 125 cm SANYU, Four Nudes, 1950s, Oil on masonite board, 95.5 x 125 cm 亨利．摩爾《階梯上的女人》 1956 銅雕 64.7(長) x 72.3(寬) x 66.6(高) cm Henry MOORE, Draped Seated Woman: Figure on Steps, 1956, Bronze, 64.7(W) x 72.3(D) x 66.6(H) cm

What is history? An echo of the past in the future, a reflex of the future on the past. Victor Hugo

2019 coincided with the 20th anniversary of the Ravenel Art Group and their meticulously planned spring exhibition, "Dialogue with Masters, a Tribute to the Classics," which featured an incredible selection of work from Picasso, Modigliani, Rodin, Sanyu, Chen Cheng-po, David Wu Ject-Key, and SHIY De-jinn, as well as twenty six other giants of the art world. Held in the Four Seasons room of the Marriott Hotel, the exhibition was divided into two sections: Self portraits and Masterpieces. Art lovers were treated to a taste of the classics with a display that included twenty museum-level self portraits and seven masterpieces by world-renowned artists. The Ravenel Art Group's purpose and expectation has always been to recommend fine art that stands the test of time. Just by looking at the dazzling auctions the group has held over their 20 year history, it is clear that Ravenel's selection has epitomized the trends of the Chinese and Asian art markets. President of Ravenel, Arthur Wang, put it, "Ravenel is a brand with a mission to make history. Our goal is to continue to demonstrate our resolute and pivotal influence in our role as consultants for collectors and art investors. Twenty years is no small feat, and it has taken a lot of perseverance. We hope that this exhibition will also display Ravenel's enduring commitment to hard work and professionalism for so many years. More than anything we wish to share the joy, the pride, and the rewards of art collecting with everyone." 12

[ 20TH ANNIVERSARY ]

席德進《自畫像》 1951 油彩畫布 51.5 x 43 cm SHIY De-jinn, Self-portrait, 1951, Oil on canvas, 51.5 x 43 cm

1. 烏叔養《自畫像》油彩畫布 49 x 39 cm WU Shuyang, Self-portrait, Oil on canvas, 49 x 39 cm 2. 蘇旺伸《自畫像》 1998 油彩畫布 30.5 x 30.5 cm SU Wong-shen, Self-portrait, 1998, Oil on canvas, 30.5 x 30.5 cm 3. 林鉅《容》 2014 油彩碳化板 38 x 37 x 6.5 cm Lin Ju, Face, 2014, Oil on board, 38 x 37 x 6.5 cm 4. 劉海粟《自畫像》 1922 油彩畫布 60 x 44.5 cm LIU Haisu, Self-portrait, 1922, Oil on canvas, 60 x 44.5 cm 5. 劉野《憂鬱（自畫像）》 1999 油彩畫布 24 x 24 cm LIU Ye, Self-portrait, 1999, Oil on canvas, 24 x 24 cm 6. 周春芽《自畫像》 1984 油彩紙本 37.8x 17.5 cm ZHOU Chunya, Self-portrait, 1984, Oil on paper, 37.8x 17.5 cm

The Shining Stars of Art, "Self Portraits" Offer a Chance to Commune with the Greats.

7. 伍澤樞《自畫像》油彩畫布 102 x 76.5 cm David WU Ject-Key (WU ZEQU) , Self-portrait, Oil on canvas, 102 x 76.5 cm

The history of art is a galaxy of many stars; it is humankind's most

LONG Chin-san, the hubris of Liu Haisu, the moral contemplations

heartwarming and uplifting epic. Within the vast universe of art, every artist

of Wu Shuyang, the educated air of Qin Xuanfu, the sharp gaze of

stands out like a bright and shining star watching over a sky filled with

SHIA Qi, the child-like innocence of Max Chiwai Liu, the gentle

countless stories of fantastic beauty - waiting for us to explore and discover

aesthetics of SHIY De-jinn, the heroic spirit of Liu Kuo-sung,

them, even though the telling of them could take more than 1001 nights.

the colorful life of Gu Fusheng, the sincere confidence of ZHOU

In the art of the West, self portraits can be seen as profound self-reflective

Chunya, the patriotism of Su Wangsheng, the spiritual and physical

soliloquies that allow artists to explore their own emotions. The exhibition

dharma of Lin Ju, the magical islands of Lien Chien Hsing, the

contained nineteen self portraits of great Eastern and Western masters of

classical inquiries of Liu Ye, as well as the solitary tenderness of

the past up to the present, as well as twenty self portraits by contemporary

AMEDEO MODIGLIANI and the romance of MARC CHAGALL,

artists including Chinese first-generation oil painters, preeminent Taiwanese

these self portraits are the chance to start a conversation face to

artists, contemporary artists, and famous western artists. The impressive

face with the greatest artists of our time and understand their unique

appearance of Feng Gangba, the scholarly humor of Chen Cheng-po, the

visions of the world.

handsome masculinity of David Wu Ject-Key, the multi-layered portrait of 13

陳澄波《自畫像》 1930 油彩畫布 41 x 31.5 cm Chen Cheng-po, Self-portrait, 1930, Oil on canvas, 41 x 31.5 cm

Many art lovers that came to appreciate the masterful work of these famous artists agreed that the moment they were in front of a self portrait, they were overcome with a deep sense of connection with the artist and would linger awhile, taking in the beauty of their work. The artist Lin Gu, who visited the exhibition with friends was overtaken by a surge of emotion upon seeing an old self portrait of his on display. He told his friends, "Brothers, do you see how much of my life I have put into painting, that even my soul can be found here on the canvas!" "It is not unusual to see the work of these famous artists during regular auction previews, but we rarely see their self portraits. Entering this exhibition is like walking through a hall of fame and is a very humbling experience." A veteran collector said. Many members of the art world that visited also remarked on how special and successful the exhibit was.

Day after day the enthusiastic reactions of the visitors and

The Classics, Captured in Masterpieces

their passionate feedback gave the Ravenel team a deep sense of encouragement. For example, because most people know of Chen Chengpo as a landscape painter who captured beautiful scenes of Taiwan they were stunned to see him portrayed in his own self portrait. Liu Kuosung portrait of himself at 22 is an enduring visage from which you can already see his universal aspirations. Liu Ye, who has himself interpreted many of the great masters of the past let viewers peek behind the veil to see a new side of him. Guests ruminated on the striking contrast between the portraits of a young and sprightly 29 year-old ZHOU Chunya and a masculine and mature 40 year-old ZHOU Chunya. Some visitors also recognized the particularly meaningful portrait of De-jinn Shiy that had been featured in the 2013 sell-out auction "Friends of SHIY De-jinn - 30 year collection." The reappearance of Modigliani's self portrait, painted on a wooden board that was last seen at 2017's spring auction sparked even more passionate discussions and drew a large crowd.

The Ravenel Art Group are not just the top consultants for 20 and 21st century Chinese art, they have also set numerous auction records in Taiwan, provide private purchasing services for their esteemed clients, and provide recommendations of western art for premiere art collectors. The masterpieces section featured a special exhibition of privately-owned works of museum-level quality by both Eastern and Western artists. These include Rodin's "Le Baiser", Picasso's "Dora Maar", Chagall's "La Paysanne", Henry Moore's "Draped Seated Woman", Jean Dubuffet's "Les Galeries Lafayette", Andy Warhol's "Mao (Orange)", as well as work from legendary Chinese artists including Sanyu's "Four Reclining Nudes" as part of seven great masters' classic works. Every one of these important classics can be described as wondrous and precious, and proof of Ravenel's dedication to their goal of leaving a lasting legacy in the fine arts.

[ 20TH ANNIVERSARY ]

Since it is so rare to have the work of seven world-renowned masters collected in one place, praise spread fast across social media and through word of mouth among collectors. One of these great works, Picasso's "Dora Maar", was completed in 1939 and features Dora Maar, an important surrealist photographer and Picasso's lover. Dora documented the creation of Picasso's famous painting, Guernica. It was the first time Picasso let someone watch him in the process of creation. She followed him through each step of the piece's creation, capturing its development with her camera. Picasso's "Woman in blue", painted the same year as his portrait of Dora Maar, fetched 45 million dollars on the auction block in New York in 2017, confirming Ravenel's pioneering expertise of Western masterpieces as well as the exquisite taste of the Taiwanese collectors that have supported Ravenel.

尚．杜布菲《拉法葉百貨公司（電梯）》 1961 油彩畫布 92.5 x 73 cm Jean DUBUFFET, Les Galeries Lafayette (l'ascenseur), 1961, Oil on canvas, 92.5 x 73 cm 馬克．夏卡爾《農家少女》 1977 油彩畫布 81 x 60.5 cm Marc CHAGALL, La Paysanne, 1977, Oil on canvas, 81 x 60.5 cm

Another notable masterpiece is Sanyu's "Four Nudes". This piece, created in the 1950s displays four nude women in repose, separated from the background by large swathes of color. This broad painting has an immense sense of space, that contrasts with the languid beauty of the four women. Sanyu's reserved Eastern sense of beauty is captured beautifully in the image of the four women, lost in whispers among one another, unaware of the world around them. This piece was the featured work of Ravenel's fall auction in 2001 which was one of the first times Sanyu was promoted in the auction market, and now is one of the main highlights of the masterpiece section of the exhibition. It has been such a joy to travel down the path of art collecting and investing, and Ravenel would like to deeply thank our collaborators for their 20 years of support and encouragement along the way. "Dialogue with Masters, a Tribute to the Classics" is a presentation of Ravenel's deeply grateful heart and a gift that has been 20 years in the making.

I T I F F A R G T E E R T S N I S N I G I F R O O S U T A T S E H T S E G N A H C S W KA T E K R A M T R A L THE GLOBA 始於街頭塗鴉貌面場市術藝球 KAWS顛覆全 en 陳惠黛 DIOR台灣 Text / Odile Ch p、達志影像、 ational Art Grou rn te In l ne ve Photo / Ra

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世紀的普普藝術引領風騷數十年，如今再度「瘋迷」世界，在 21 世紀的主流藝術市場

中，這一群快速崛起的新收藏標的，街頭塗鴉、潮玩玩具等所謂「新普普藝術」，大篇幅占據新舊傳媒的版面。無論是美術原作，或是複數文創設計，在年輕世代藏家群組中關注度極高、最熱門的投資標的之一。以美國藝術家 KAWS 為首，帶動「藝術玩具」行情，從外圍的時尚潮流圈發跡，精品設計聯名，近年來已高調走入美術館、畫廊或藝博會展覽殿堂，進駐各大拍賣會場顯眼展位，大大地改寫藝術市場的面貌。無怪乎有此一說，繼安迪．沃荷 Andy Warhol 之後，KAWS 的事業版圖是極少數能與之匹敵的藝術家。

21 世紀網路社群時代，藝術品投資跳脫了傳統框架，舉凡實體線下拍賣、線上拍賣、社群代購、網路直播拍賣…，交易轉手的速度與頻繁，連縱橫市場多年的資深畫商們也不免驚呆了。更有甚者，日本潮

藝術家 KAWS 中正紀念堂《KAWS：HOLIDAY》2019 《KAWS：HOLIDAY》at Chiang Kai-shek Memorial Hall 2019 《THE KAWS ALBUM》蘇富比2019春拍約 1 億 1,600 萬港元成交 "The KAWS Album", Sotheby's Spring Auction 2019, sold for HK$115,966,000

流教父 Nigo 長尾智明收藏的《The KAWS Album》油畫，以港幣 1.16 億元（約 4.55 億台幣或 1480 萬美元）天價成交，拍賣廳眾人瞠目結舌，這項紀錄成為 2019 年愚人節最大的一則藝術新聞，連 KAWS 不免在自己的 Instagram 貼文中驚呼，不該賣得如此誇張。 KAWS 目前幾乎每年在全球各地的美術館、代理畫廊或特展中巡迴展出，每一場展覽開幕吸引大量排隊人潮，周邊聯名商品或紀念品的收益極高。近期，不論是與日本平價服飾優衣庫 UNIQLO，或法國精品品牌迪奧 DIOR 聯名設計，名人與粉絲爭相分享與搶購。雖然仍年輕，KAWS 的名字無疑已是世界聞名，但多數人對其出身和美學成就知之甚微。惡搞顛覆、精明幹練、品味高超、商業手腕等等，固然是外界對他的粗淺印象，若回顧他三十多年的藝術歷程，成功不是偶然，每一階段皆留下磨礪奮鬥的事蹟。他的美學概念、繪畫功力極強，佈局比例、色彩運用、線條勾勒毫不含糊，足以一代大師稱之。在介紹這位美國藝術家的生平之前，容我先以正視聽，多數國人誤讀其名為「靠斯」，其實正確唸法應如「寇斯」的讀音。四個字母的化名，沒有高深莫測的意涵，或是評論家以 "Cause"（原因）的含義解讀，純粹是少年郎混跡街頭，匿名塗鴉時設計的簽名圖案，組合好看、很酷，唸起來好聽而已！

惡搞塗鴉客、海報怪盜 KAWS 的本名是布萊恩．唐納利（Brian Donnely），1974 年出生於美國紐澤西州的大男孩。1980 年代好萊塢電影星際大戰、變形金剛風行、電視節目芝麻街、史奴比、加菲貓、辛普森家庭等卡通影集，這些虛擬角色伴隨布萊恩的童年時光，全球多數同代的孩子，幾乎受此美國流行文化影響。點點滴滴的成長印象，逐步拼圖出他幽默與想像力十足的幻想世界。布萊恩從小喜愛滑板運動。後來從澤西市搬遷到紐約，藉由玩滑板，深度認識了曼哈頓，視野隨之不同。每個周末都去參加賽道滑板，布魯克林銀行的周邊最適合溜滑板，而附近正是紐約街頭塗鴉勝地，那些鮮豔圖案、酷炫的滑板圖案設計，以及張力十足的噴漆塗鴉，一一成為他在美術上的啟蒙。他最欣賞滑板設計師吉姆．菲利浦斯 Jim Phillips，1980 年代的知名作品《吶喊之手》（Screaming Hand）的經典圖案，默默地影響了布萊恩後來發展出的《死亡之手》（Hands of Death）作品。 1987 年布萊恩對塗鴉產生興趣，隨意在筆記本上塗塗畫畫，因為就讀天主教學校，故意畫一些反宗教的東西，或是看起來酷酷的怪物。高中時期，他更加進階，改在牆壁塗鴉，年輕都愛到處 Tag 標籤自己的名字。然而塗鴉畢竟屬於非法的行為，不能用本名，於是布萊恩設計了四個字母 KAWS，從此以 KAWS 之名闖蕩江湖。後來 1993 年進入紐約曼哈頓的視覺藝術學院（School of Visual Art），知名塗鴉藝術家奇斯．哈林 Keith Haring 也是校友，當然他也是 KAWS 景仰的傳奇人物。KAWS 不像其他的塗鴉前輩：Taki 183, Futura, Basquiat (SAMO), Keith Haring，多潛伏在陰暗的地鐵站、陸橋下作畫，他偏愛明亮的公路旁的大型告示牌、貨櫃車廂，以及後來的公車站、電話亭的廣告箱等。這些都預示了多年後他在世界各大城市執行地景藝術的大計畫。 KAWS Calvin Klein海報 1997 KAWS Clavin Klein poster KAWS《死亡之手》 Hands of Death

第一次在大型告示牌上作畫，他挑選 Captain Morgan（摩根船長）酒商的廣告，小心翼翼不去覆蓋原有的圖像，並精心搭配色彩，將 KAWS 字母和諧地融入廣告之中，他的塗鴉的實驗有層次與視覺美感。 1995 年 Captain Morgan 換上新的廣告看板出現時，他又再度畫了另一幅。兩件的攝影圖像紀錄已是回顧 KAWS 大學時代塗鴉歷史的成名代表作。 1996 年 KAWS 自視覺藝術學院畢業，隨後進入 Jumbo Pictures 影業公司，擔任 freelancer 動畫師。Jumbo Pictures 同年為迪士尼卡通併購。米老鼠、小木偶皮諾丘、原子小金剛等卡通角色，動畫師的經驗成為後來繪畫創作的養分。他設計出一個插有兩根交錯骨頭的骷顱頭、雙眼打叉、身體彎曲如蛇的圖案，取名為 Bendy（彎彎，精蟲）。這個精蟲形象後來亂入街頭廣告，打開 KAWS 的知名度。特別值得一提的是後來的雕塑代表作 Companion（同伴），即是採用 Bendy 部分元素，結合米老鼠造型，精蟲演化後的 3D 進階版本。

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日本、香港潮流跨界合作打造藝術玩具王國 1997 年 KAWS 受來自大學同學的邀請，第一次到日本旅行。透過滑板高手友人 YOPPI 江川芳文（Yoshifumi EgawaI，主持潮牌 realmad HECTIC）的引薦，結識了幾位潮流圈名人設計師如長尾智明 NIGO（猿人 A Bathing Ape / BAPE）、高橋盾 Jun Takahashi（UNDERCOVER）、岩永光 Hikaru Iwanaga（賞金獵人 Bounty Hunter）、瀧澤伸介 Takizawa Shinsuke （NEIGHBORHOOD）等等。在這趟亞東的旅程中，HECTIC 服飾向 KAWS 委託訂製玩具設計，交由 Bounty Hunter 製造共同合作，於是 KAWS 的第一件立體作品 ─ 玩具版本 Companion（同伴）問世。第一代 Companion 藝術玩具，混和著米《無題（MBFW2）》2017，壓克力畫布，101.6 x 101.6 cm，羅芙奧台北2019秋拍「亞洲現代與當代藝術」 "Unititled (MBFW2)", 2017, Acrylic on canvas, 101.6 x 101.6 cm, Ravenel Autumn Auction 2019 Modern and Contemporary Asian Art

老鼠造型的圓滾滾的身體、細瘦的腿，加上 Bendy 的骷顱頭、劃上 XX 符號的眼睛，延續他自 1996 年起惡搞街頭海報廣告的塗鴉符號。玩具的材質是 KAWS 最愛的軟性塑膠

1996 年 KAWS 向藝術家朋友 Barry McGee 學會開鎖技術，接下來幾年間多次把街上的

乙烯基 Vinyl，或俗稱「搪膠」，塑膠味可

廣告從玻璃櫃內取出，回工作室加工塗畫之後再擺回去，海報中出現了 Bendy 的圖案或局

連結兒時的玩樂記憶。同一系列每個顏色製

部骷顱頭面具。骷顱頭或精蟲的生死形象在全世界的解讀一致，別無懸念，藝術家覺得特別

作 500 件，有灰色、紅棕、黑色三個顏色。

有意思。他將動畫創作剩餘的賽璐珞膠顏料 cel animation paint 運用於街頭海報的塗鴉，營

亞洲確實是開啟 KAWS 事業版圖的重

造出類似塑膠感的效果。無縫似的加筆加料，隨著模特兒的姿態纏繞，產生出乎意料的趣味

要據點，2001 年他在東京舉辦第一次個展

感。1990 年代，他刻意挑選當年堪稱前衛性感，甚至帶有挑釁意味的廣告攝影，如 Guess,

KAWS Tokyo First, 主要以 Simpsons 辛普森

Calvin Klein 等品牌。

家族為靈感，發表的 Kimpsons 系列，並推

KAWS 以其創意介入街頭海報，幽默惡搞的 subvertising 行為，賦予街頭塗鴉新的意

出卡片與紀念商品。隔年 KAWS 成立 KAWS

義，他為精緻的、魅惑的模特兒肖像描繪加工，揶揄美國的反烏托邦，造成一股旋風，有些

ONE 官網，建立有系統的生產線，並在官網

品牌後來主動找上他，請求為自家品牌廣告加工，這些海報作品後來成為藏家爭相收購的

販售藝術玩具產品。

標的物。目前最貴的一件是 2019 年 4 月 27 日東京拍場拍出日幣 5290 萬（約 1500 萬台幣

卡通人物永遠不會老，玩具也是。1996

或 50 萬美元）。紐約街頭海報製作的數量約 60-70 件左右，後來在倫敦、巴黎複製惡搞廣

年的 Bendy 演化為 1999 年的 Companion，

告。KAWS 被歸類於龐克文化的 Brandalism（顛覆廣告），他結合了品牌 Brand 與破壞主義

五年後，KAWS 卻想讓 Companion 長高一

Vandalism，具有藝術性的深度與廣度。

點，壯一點，頭部造型更簡化一點，於是變

1999 年 25 歲的 KAWS 在巴黎文化概念商店 Colette 舉行生平首次個展，以平面作品為

成我們後來熟悉的 Companion 模樣，基本上

主，展覽主視覺以惡搞米其林輪胎寶寶變體 CHUM，展出街頭塗鴉時期的海報與繪畫作品，

都是三個顏色。然後有幾款大小尺寸，再開

同時發行個人畫集。他的知名度拓展到海外，接下來他把事業重心放到亞洲，尤其是日本的

發出直挺站姿、沉思坐姿、休息伸腿坐姿的

潮流時尚圈。

多樣 Companion。

2006 年 KAWS 和日本玩具商 Medicom Toy 在東京南青山區開了一間叫做 OriginalFake 的實體商店，建立了潮流事業的里程碑，依據他的藝術風格規劃設計，所有販售的商品都是 KAWS 藝術概念的延伸。KAWS 將自身定位於一位藝術家、設計師以及生產者（artist, designer & producer）。他也和其他藝術家聯名設計不同版本的 Companion，如空山基、設計師 BAPE、家具公司 Karimoku、玩具公司 Medicom Toy 合作，甚至有如醫學模型的半解剖版本，因製作工續較複雜，半剖版本的 Companion 玩具價格較高。2018 年在紐約拍出一件搪膠材質的 243.8 公分高的半剖版本，成交金額 97.5 萬美元；128 公分版本最高也有 9.2 萬美元身價。KAWS 深知每個階段有不同的任務，OriginalFake 從 2006-2016 年結束營業為止，這段時間發行的藝術玩具陪伴許多粉絲渡過青春的時光。後來他持續與日本、香港的玩具公司合作，生產線拓展到中國、泰國、拉丁美洲。只要他持續發表新產品，全球粉絲還是會買單。值得玩味的，KAWS 一系列的玩具名稱多半有朋友或陪伴的涵義：如 Companion ⁄ 同伴 (1999)、 Chum ⁄ 密友 (2001)、Accomplice ⁄ 共犯兔 (2002)、The Twins ⁄ 雙胞胎 (2006)、BFF ⁄ 最好的朋友 (2016)、Together ⁄ 一起擁抱 (2019)。而配色從原本的灰、紅棕、黑三色，到了近期發展出寶藍、粉紅等芝麻街風 BFF 色彩。無怪乎，KAWS 在最新的澳洲維多利亞國家畫廊的個展中，主題為「孤獨時代的陪伴」（Companionship in the Age of Loneliness）為名。他提醒我們，我們需要彼此，人們應該盡可能地努力生活，以對抗這個恐懼和仇恨遍佈的『孤獨時代』。」

無題《迷彩骷髏頭》1999，壓克力畫布，40.6 x 40.6 cm，羅芙奧香港2016春拍，成交價 1,606,695台幣 "Untitled (Camo Skulls)", 1999, Acrylic on canvas, 40.6 x 40.6 cm, Ravenel Spring Auction 2016 Hong Kong, sold for USD 49,421 DIOR MEN 2019 夏季時裝系列秀場圖 Show stage of DIOR SUMMER 2019 MEN'S COLLECTION

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繪畫命題和生命歷程息息相關玩具和雕塑的界線不存在 KAWS 走紅潮流時尚圈後跨足美術圈，過去他在日本期間精心設計套裝繪畫 Packed painting，將原作繪畫包裝在透明塑膠盒裡，如同玩具包裝一樣，吸引願意大手比花錢購買玩具的年輕收藏家，也能改為收藏繪畫作品。 2008 年起與法國知名畫商艾曼紐．貝浩登（Emmanuel Perrotin）正式合作。1968 年出生的貝浩登，二十多歲時即成立自己的畫廊，多年來與知名藝術家合作，有村上隆、莫瑞吉奧．卡特蘭（Maurizio Cattelan）、KAWS、JR、還有新秀阿爾軒（Daniel Arsham）等。貝浩登畫廊除了巴黎總部，香港、上海、東京、首爾都設有據點，雙方合作的 11 年間完成九檔出色的展覽，吸引大量觀展人潮。在為數眾多的藝術玩具之外，KAWS 的美術原作也不在少數，他的通路則是透過貝浩登畫廊各城市據點，或博覽會、美術館等空間發表。

《你應該知道我知道》2015，版畫 P.P 5/9，94.5 x 81.3 cm，羅芙奧台北2019秋拍「亞洲現代與當代藝術」 "You should know I know", 2015, Screenprint, edition P.P. 5/9, 94.5 x 81.3 cm, Ravenel Autumn Auction 2019 Modern and Contemporary Asian Art

此外，2008-2009 之後他的創作以大尺幅油畫、巨型雕塑計畫為主，也和美國東西岸畫廊合作，讓更多觀眾看到他的畫。主題包括 KawsBob 海綿寶寶、Kurfs 藍色小精靈等，還有後來的花生漫畫 Peanut 史奴比等。油畫創作的重新巔覆原本的卡通角色設定，KAWS 的作品顯示出自我遏制和情緒疏離。當我們想要了解他的角色時，劃 X 的雙眼禁止情感的交流，主題雖然可愛幽默卻也保持慣有的情感冷酷，無論恐懼或貪婪都不顧，甚至拒絕溝通。藝術評論家認為，KAWS 的畫作命題大致屬於自傳性的，有的題目很短、很活潑，淺顯易懂，若題目很長，則隱藏著他的精明算計和個人敘事。動畫用賽璐珞明膠顏料，還有卡通角色的暗示，大膽顛覆正常的透視感，極其平坦的上色，不顯筆觸肌理，還有獨特的色彩調色，有霓虹色、淡色和黑色，特別的勃艮第酒紅和紫色，營造豐富的構圖效果。神秘個人化的涵義，甚至帶有抽象形式的壯麗。 KAWS 在一次採訪提及他對角色立體化的看法。「很有趣的是，當我使用青銅或木材製作大尺寸的作品時，它被稱為雕塑，但如果我在小尺寸的塑膠上做同樣的作品，它就被稱為玩具。」事實上 KAWS 認為在藝術過程中，玩具和雕塑之間的界線並不存在。在拍賣市場的表現，雕塑與玩具的價格越來愈靠近，藝術玩具的身價已屬原作等級。

《隔離塔》2016，版畫 12/50 ，152 x 109 cm，羅芙奧台北2019秋拍「亞洲現代與當代藝術」 "Isolation Tower", 2016, Screenprint, edition 12/50, 152 x 109 cm, Ravenel Autumn Auction 2019 Modern and Contemporary Asian Art

KAWS 第一代Campanion立體作品，結合Bendy頭部和米老鼠的身體，四肢纖細 First Generation of Campanion sculptures are combined with Bendy's head and Mickey Mouse's body with thin limbs KAWS 公車亭牌塗鴉 1997 KAWS Graffiti on bus stop

從 2018 年在紐約斯卡斯特德畫廊（Skarstedt Gallery）舉辦 KAWS 個展「失去」（Gone）後，2019 年 KAWS 正式與貝浩登畫廊分手，改與皮爾．斯卡斯特德（Per Skarstedt）合作。斯卡斯特德畫廊代理有巴塞利茲（George Baselitz）、喬治．康多（George Condo）、理查．普林斯（Richard Prince）等多位重量級當代藝術家。財力與影響力當然更勝貝浩登。不少粉絲擔心，KAWS 和貝浩登畫廊分道揚鑣，是否影響他們的收藏計畫。藝術玩具的合作，還是多與日本的 Medicom Toy、香港的 AllRightsReserved 創意工作室合作，並透過網路販售。相信在大畫廊的代理規畫下，藝術家的發展前景不可限量。

KAWS 是今日社群時代的一面鏡子英國街頭塗鴉大師班克斯 Banksy 和 KAWS 同齡，皆出生於 1974 年，一位數十年來低調隱藏面貌與真實身分，一位高調出席各式畫展開幕慶典，曾經有人猜測英國的 Banksy 可能就是 KAWS。KAWS 在美術、街頭藝術與設計各方面的內涵，與 Banksy 的反資本主義批判，或有關聯性卻也存在著反差。毫無疑問地說，他們都是最重要的當代藝術大師。兩位大師在網際網路上密集強烈的曝光，特別是次文化圈的風行，KAWS 反映出數位時代、大眾傳媒的狀態，KAWS 的普普藝術風格是我們這個時代的產品。回顧他過去在香港九龍海港城、維多利亞港、上海時代廣場、台北中正紀念堂、首爾石村湖、日本富士山等的特展，巨型雕塑如同觀光名勝，吸引眾人爭相搶著合影分享。無論是 Banksy 或是 KAWS 都有強大的組織和大工程規劃的能力，而 KAWS 尤其擅長處理龐大的圖案設計、生產、繪畫、雕塑、玩具，緊盯所有程序，樂在其中。他隨時觀察社群的反映，動用媒體力量以拓展事業版圖。KAWS 最早的美學產物開始於街頭，屬於地下、反文化的，不像傳統藝術家走主流模式，而是採取個人化的玩家戰術，結合網路與部落格的視覺傳播頻道，叛逆挑戰規則，建立起一個當代的傳奇。 Kaws 的公共收藏包括聖地牙哥當代藝術博物館（Museum of Contemporary Art, San Diego）、布魯克林博物館（Brooklyn Museum）、沃斯堡現代藝術博物館（Modern Art Museum of Fort Worth）和底特律康博軟體總部大樓（One Campus Martius）。根據 Artprice 的數據資料庫，2008 年 KAWS 首度有藝術品出現在日本東京的拍賣市場，短短十年間在 2018 年全年度拍賣成交金額約有 2768 萬美元（8.6 億台幣），2019 年到第三季已突破至 5868 萬美元（約 18 億台幣），交易量藝術家排名第 16 位。其實，畫廊私洽或是其他交易平台，KAWS 的市場絕對遠高於此。他的藝術價值仍在升值中，後續發展大大可為，值得期待。

[ ART & INVESTMENT ]

For

several decades, pop art led the way in shaping the artistic landscape of the 20th century. Now, in the mainstream art market of the 21st century, a new pop art craze has emerged. Consisting of street graffiti, art toys etc., this new category

of increasingly sought after art collections is often referred to as "New Pop Art", and rapidly spread to occupy all forms of media, both new and old. Regardless of whether its an original artwork, or electronic copies of digital designs, New Pop Art works have drawn large amounts of attention from the young generation of collectors, as well as become one of the most popular types of art to be purchased for investment purposes. With the American Artist KAWS at the forefront leading the "art toys" market trend, these art toys, which first gained around the outer edges of the fashion and design world before seeing boutiques collaborating under a unified brand, have with much fanfare entered exhibition halls, art galleries, and art fairs. They have drawn not only large amounts of attention but also bids at major art auctions, completely changing the face of the art market. It's little wonder why KAWS has been praised as being the only artist since Andy Warhol with such a great career trajectory. In the 21st century era of the online community, non-traditional channels for investing in art, such as online auctions, purchase brokering through online communities, live streamed online auctions, etc. have begun to displace traditional physical auctions. The speed and frequency of trading have shocked even seasoned art dealers. Furthermore, from the personal collection of Japan's godfather of trends, Nigo Tomoaki Nagao,

The KAWS Album oil painting sold for a record-shattering 116 million HKD (about 455 million TWD or 14.8 million USD), stunning those attending the auction. This record became the largest piece of art related news during April Fool's on 2019, even KAWS himself couldn't help but express his surprise at the selling price on his Instagram. Nearly every year across the world at art museums, art galleries, or special exhibitions featuring KAWS' works, crowds of people line up to attend each opening ceremony, bringing in large amounts of revenue from co-branded products or commemorative merchandise. Recently, regardless of whether its co-branded merchandise designed in collaboration with Japan's casual wear brand UNIQLO, or French luxury brand DIOR, celebrities and the general public alike have snatched up any and all KAWS-related products left and right. Although still young, KAWS' name is already known worldwide. Yet, most people know little about his origins and artistic achievements. His spoofs and subversions, intelligence, incredible taste, and business savviness, are what most people know him for, but looking back at his 30 year long artistic journey, his current success is by no means an accident. Traces of the ruthless struggles he faced can be seen at every single stage of his journey. His aesthetic philosophies, incredible painting skills, innovative use of layout proportions and colors, and clear unambiguously drawn lines make him worthy of his title of master of a generation. Before introducing the life of this American artist, please allow me to first clarify a common mistake made by Chinese speakers where the "a" in KAWS is pronounced like the "a" in paws. The "a" should instead be pronounced with an "au" sound. KAWS is not a four-letter pseudonym with some higher meaning, or as interpreted by some critics as standing for the word "Cause", but is simply a combination of letters that happened to sound cool and look nice when used as the signature for anonymous street graffiti drawn by a young kid from the streets!

Graffiti Spoofer, Poster Thief KAWS' real name is Brian Donnelly. He was born in 1974 in New Jersey, USA. It was the characters from 1980s movies like Star Wars and Transformers, and television shows such as Sesame Street, Snoopy, Garfield, the Simpsons, and other such cartoons that accompanied Brian throughout his childhood. Almost all children from that era across the world were similarly influenced by American pop culture in some way. Little by little, these childhood impressions helped shape Brian's sense of humor and served as inspiration for a rich imaginary fantasy world. Brian loved skateboarding from a young age. When Brian later moved from Jersey City to New York, he got to broaden his horizons and gain a deeper understanding of Manhattan through skateboarding. Brian would go to the skate park every weekend. The areas surrounding Brooklyn Bank are great for skateboarding and nearby is a hotspot for New York street graffiti. The bright patterns, cool skateboard designs, and the bold spray paint graffiti all became his inspiration for art. He greatly admired the skateboard designer Jim Phillips. The classic pattern of the 1980 renowned work, Screaming Hand , quietly influenced Brian's later work, Hands of Death. In 1987, Brian became interested in graffiti, so he began to sketch casually in his notebooks. Because Brian attended a Catholic school, he would deliberately draw something anti-religious, or perhaps a rad-looking monster. In high school, he upped his game and starting painting wall graffiti. Young people like to label their names within their works. However, since graffiti is illegal, they can't use their real names. So Brian designed the four-letter KAWS, which he has been using ever since. In 1993, he started studying at the School of Visual Art in Manhattan. The renowned graffiti artist Keith Haring is also an alumnus, and was also someone who KAWS looks up to. KAWS is not like his graffiti predecessors - Taki 183, Futura, Basquiat (SAMO), and Keith Haring, who laid low and painted in dark subway stations and under land bridges. Instead, he preferred large billboards and container compartments along bright roads, and later advertising boxes for bus stops and phone booths. These all serve as a prelude to his grand plan of landscape art which he implemented in major cities in the world many years later.

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無題《摩根船長》，1993，噴漆於公路廣告告示牌，美國紐澤西 Untitled "Captain Morgan", 1993, Spray paint on existing billboard advertisement, New Jersey 無題《摩根船長》，1995，噴漆於公路廣告告示牌，美國紐澤西 Untitled "Captain Morgan", 1995, Spray paint on existing billboard advertisement, New Jersey

For his first work on a large billboard, he selected the advertisement of Captain Morgan, an alcohol manufacturer. Careful not to cover the original image, he meticulously coordinated the colors, harmoniously integrating KAWS letters into the advertisement, giving his graffiti experiment a layered and visual aesthetic. When Captain Morgan switched to a new advertising billboard in 1995, he painted it again. The two photographic image records have become famous masterpieces that are representative of KAWS' graffiti history during his college years. In 1966, KAWS graduated from the School of Visual Art and began working at the animation studio, Jumbo Pictures. In the same year, Jumbo Pictures merged with Walt Disney Television. Through Mickey Mouse, Pinocchio, Astro Boy, and other such cartoon roles, his experience as an animator later served as nutrients for his artwork. KAWS designed a skull with two crossed bones, a pair of crossed eyes, and a curved body like a snake, named Bendy (bend, sperm). This sperm-like image later made its way into street advertising, setting up the popularity of KAWS. What is especially worth mentioning is his later sculpture representative Companion . Embodying partial elements of Bendy to combine with the shape of Mickey Mouse, it is the 3D advanced version of the evolution of the sperm.

上海余德耀美術館《KAWS：始於終點》 2017 海報展區牆面 Poster Wall of "KAWS：Where the End Starts" at YUZM Shanghai 2017 《同伴線香座》，2013，銅雕高 x 寬: 4 x 13.5 公分, 羅芙奧2019秋季線上拍賣「無設限」 "Companion Incense Stand ", 2013, Bronze, H x W: 4 x 13.5 cm, Ravenel Autumn Online Auction 2019 All In: Out Of Now

In 1996, KAWS learned locksmith skills from his artist friend Barry McGee. In the next few years, he would often take street advertisements out of their glass cabinets, and then go back to the studio to add graffiti before putting them back. The posters would have Bendy images or partially dirty skull masks. The life and death images of the skull and sperm are consistent throughout the world, so there is no confusion. The artist finds this to be particularly compelling. He applied the remaining cel animation paint of his animation work to the graffiti of street posters to create a plastic-like effect. The seamless addition of the brush and paint entwine with the model's posture to produce an unexpected sense of fun. In the 1990s, he deliberately chose advertising photography that was avant-garde or even provocative, such as Guess, Calvin Klein and other brands. KAWS inserts his creativity into street posters, utilizing humorous and spoofing subvertising behavior to bestow new meaning to street graffiti. He modified the exquisite and glamorous portraits of models, ridiculing the anti-utopia of the United States, creating quite a whirlwind. Some brands later took the initiative to find KAWS and request modifications for their own brand advertisements. These posters later became sought-after items for collectors. The most expensive piece was sold at the Tokyo Chuo Auction on April 27, 2019 for a price of JP¥ 52.9 million (about NT$ 15 million or US$ 500 thousand). There were about 60-70 street posters produced in New York which were later replicated in London and Paris as spoofed advertisements. KAWS is classified as Brandalism in Punk culture. He incorporates his brand with Vandalism, embodying artistic depth and breadth. In 1999, 25-year-old KAWS held his first solo exhibition at the cultural concept store Colette in Paris, focusing on graphic works. The exhibition's visual concept spoofs the Michelin Tire mascot into a CHUM. It exhibits posters and paintings from his graffiti period, while also releasing his personal portfolio. His popularity has expanded overseas, and he plans to take his next career step in Asia, especially the fashion scene in Japan.

Japan and Hong Kong Cross-border Cooperation - Creating an Art Toy Kingdom In 1997, KAWS was invited by his college classmate to travel to Japan for the first time. Through the referral of Yoshifumi "YOPPI" Egawa (the founder of streetwear brand realmad HECTIC), KAWS got to meet several fashion circles celebrity designers such as "NIGO" Tomoaki Nagao (A Bathing Ape / BAPE), Jun Takahashi (UNDERCOVER), Hikaru Iwanaga (Bounty Hunter), and Takizawa Shinsuke (NEIGHBORHOOD). In this trip to the East, HECTIC apparel commissioned KAWS to produce custom toy designs in collaboration with Bounty Hunter. This led to the release of KAWS's first three-dimensional work - the toy figurine version of Companion. The first generation of Companion toys feature the round body of Mickey Mouse paired with thin legs, plus Bendy's skull and the XX symbols that serve as eyes. It continues the graffiti symbols that he has been spoofing on street poster advertisements since 1996. KAWS uses his favorite toy marital - polyvinyl chloride, commonly known as "vinyl". The plastic taste can be linked to childhood memories. In the same series, 500 pieces are made in each color. There are three colors: gray, reddish-brown, and black.

[ ART & INVESTMENT ]

Asia is indeed an important base for incepting the KAWS business map. In 2001, he held his first solo exhibition, KAWS Tokyo First, in Tokyo, which was inspired by the Simpsons family. He released the Kimpsons series along with cards and commemorative items. The next year, KAWS released his official website, KAWS ONE, to establish a systematic production line and sell art toy products. Cartoon characters never grow old. Toys are the same. The 1996 Bendy evolved into the Companion in 1999. Five years later, KAWS wanted to make Companion taller and stronger, with the head shape more simplified, which eventually become the Companion we are familiar with. It still retains its basic three colors. Companion comes in several sizes. KAWS then developed Companions in different positions: standing straight, sitting contemplatively, and sitting with legs stretched out. In 2006, KAWS and Japanese toy dealer Medicom Toy opened a physical store called OriginalFake in the Minami-Aoyama district of Tokyo, setting a milestone in the trend industry. According to his artistic style, planning, and design, all goods sold are an extension of the KAWS art concept. KAWS positions himself as an artist, designer, and producer. He also co-designed different versions of Companion with other artists, such as Hajime Sorayama, designer BAPE, furniture company

Artwork Themes derived from Life Story; The Blurred Line between Toys and Sculptures. After conquering the fashion industry, KAWS began his move into the art industry. He elegantly designed packed paintings during his time living in Japan. Like toys, the paintings were packed in transparent plastic packages; attracting young collectors willing to spend big bucks on toys to collect paintings for a change.

Karimoku, and toy company Medicom Toy. He even made a semi-

KAWS began his official partnership with prominent French art

anatomical version, much like a medical model. The semi-anatomical

dealer Emmanuel Perrotin in 2008. Born in 1968, Perrotin started his art

version of the Companion toy is more expensive due to the complexity

gallery in his early twenties. Over the years, he partnered with several

of the production process. In 2018, a 243.8 cm high semi-anatomical

renowned artists, including Takashi Murakami, Maurizio Cattelan,

version made of silicon rubber was sold in New York for a closing price

KAWS, JR, and rising star Daniel Arsham. Other than the headquarter

of US$ 975,000. The highest price of the 128 cm high version sold for

gallery located in Paris, Perrotin Gallery also has locations in Hong

US$ 92,000. KAWS knows that there are different tasks at each stage.

Kong, Shanghai, Tokyo, and Seoul. Within the eleven years of KAWS

OriginalFake operated business from 2006-2016, and the art toys released

and Perrotin partnership, they accomplished nine outstanding exhibitions

during this time accompanied many fans through their youth. Later, he

which attracted tremendous amount of visitors. In addition to various

continued to cooperate with toy companies in Japan and Hong Kong, and

art toys, several pieces of KAWS' original artwork were also on display.

the production line expanded to China, Thailand, and Latin America. As

KAWS relies on Perrotin Gallery's locations in each city, exhibitions, or

long as he continues to publish new products, fans around the world will

art galleries as channels to publish his work.

want to buy his art.

Furthermore, KAWS started focusing on creating massive oil

It's worth pondering how KAWS' series of toy names embody the

paintings and oversized sculptures since a time between 2008 to 2009.

meaning of friends or companions, e,g., Companion (1999), Chum (2001),

He also partnered with galleries on the east and west coasts of the

Accomplice (2002), The Twins (2006), BFF (2016) and Together (2019).

USA to introduce his paintings to a wider audience. Themes include

The colors evolved from the original colors - gray, reddish-brown, and

KawsBob (SpongeBob SquarePants), Kurfs (Smurfs), and Snoopy

black â&#x20AC;&#x201C; into the recent development of blue, pink, and Sesame Street BFF

from the later-introduced Peanuts; oil paintings reinvented the original

colors. It's no wonder that KAWS' latest solo exhibition at the National

cartoon character. KAWS' artwork displays self restraints and emotional

Gallery of Victoria in Australia was called the "Companionship in the

detachment. Whenever we tried to understand his characters, the eyes

Age of Loneliness". "He reminds us that we need one another and that

crossed with X's denied any exchange of emotion. The themes were cute

life should be lived as compassionately as possible to combat this 'Age of

and humorous, but yet emotionally reserved; regardless of fear or greed,

Loneliness', in the face of fear and hatred."

and refused to communicate.

After holding the solo exhibition, Gone, at Skarstedt Gallery in New York in 2018, KAWS officially discontinued relations with Galerie Perrotin in 2019 to begin collaborating with Per Skarstedt. Skarstedt Gallery represented a number of heavyweight contemporary artists, such as George Baselitz, George Condo, and Richard Price. It was obvious that the financial strength and influence of Skarstedt Gallery were superior to that of Galerie Perrotin. However, many fans worried that the split between KAWS and Galerie Perrotin might influence their collection plans. The collaboration for art toys was mostly with Japan's Medicom Toy and Hong Kong's AllRightsReserved, as well as sold online through the Internet. With the planning and representation of a major art gallery, the development According to art critics, KAWS' artwork themes are mostly self relatable. Some topics are short, lively, and simple; if the topics are long, it conceives his calculations and life story. Celluloid paint is used

prospects for artists become limitless.

KAWS serves as a mirror for today's social era

in animations and implications in the cartoon characters. The artwork

British street graffiti master, Banksy, and KAWS were both born

boldly disturbs natural perspective with extremely plain coloring, smooth

in 1974. However, one of them maintains a low-profile hiding his true

texture, and unique color palette - neon red, light and black, burgundy

identity for decades, and the other seems to be a high-profile in various

red, and purple, to establish a rich composition. It creates a mysterious

art exhibition openings. It was once speculated that Banksy was actually

personal indication, and even carries the grandeur of an impressionist.

KAWS. However, KAWS's various connotations in fine art, street art and

KAWS explained in an interview about his opinion on character modeling. Speaking of his artistic practice of blurring the line between

design are inconsistent with Banksy's anti-capitalist critique. There is no doubt that they are the most significant masters of contemporary art.

yoys and sculptures. As he explained, speaking of his artistic practice

These two masters receive intense levels of exposure across the

of blurring the line between toys and sculptures, "to me they involve

Internet, especially among subculture communities. KAWS reflects on

the same thought process, so it's funny that when I work big in bronze,

the status of the digital age and mass media utilizing a style of pop art

it's called a sculpture, but something I do that's small and plastic is

that is a product of our times. Looking back at his special exhibitions at

called a toy." In fact, in KAWS autistic practice, the line between toys

Kowloon's Harbour City and Victoria Harbour, Shanghai Times Square,

and sculpture has been blurred. Reflecting on the auction market, prices

Taipei's National Chiang Kai-shek Memorial Hall, Seoul's Seokchon

for sculptures and toys are nearly identical. The value of art toys are

Lake, and Japan's Mount Fuji, his giant sculptures seem to mark

considered to be the same as authentic works.

sightseeing spots that attract a rush of people.

[ ART & INVESTMENT ]

Both Banksy and KAWS have strong organizational and largescale project planning capabilities. In particular, KAWS is superb at keeping a tight management on the processes for large graphic designs, productions, paintings, sculptures, and toys, while finding joy in this work. He regularly updates himself on feedback from the community, while utilizing the power of media to expand his career. KAW's earliest aesthetic products began on the streets, and belonged to the underground with an anti-cultural message. Unlike traditional artists following mainstream models, he adopted personalized player tactics that combined the visual communication channels of the Internet

《寶貝》2006，版畫（版數：28/50），高 x 寬: 50 x 50 公分，羅芙奧2019秋季線上拍賣「無設限」 "Baby", 2006, Screenprint(edition:28/50), 2006, H x W: 50 x 50 cm, Ravenel Autumn Online Auction 2019 All In: Out Of Now 《4呎同伴（灰色) 》2007，彩繪搪膠限量100件，37（長）x 57（寬）x 127（高）cm，羅芙奧台北2017秋拍「亞洲現代與當代藝術」，成交價1,320,000台幣 "4 FT Companion (Gray)", 2007, Painted cast vinyl, limited edition of 100, 37(L) x 57(W) x 127(H) cm, Ravenel Autumn Auction 2017 Modern and Contemporary Asian Art, sold for USD 43,971 《同伴解剖（黑色）》2009，彩繪搪膠限量100件，31(長) x 54(寬) x 128(高) cm，羅芙奧台北2019春拍「亞洲現代與當代藝術」，成交價2,280,000台幣 "Dissected Companion (Black)", 2009, Painted cast vinyl, limited edition of 100, 31(L) x 54(W) x 128(H) cm, Ravenel Spring Auction 2019 Modern and Contemporary Asian Art, sold for USD 72,151

and blogs to challenge the rules, while simultaneously constructing a contemporary legend. P u b l i c c o l l e c t o r s o f t h e a r t o f K AW S i n c l u d e M u s e u m o f Contemporary Art, San Diego, Brooklyn Museum, Modern Art Museum of Fort Worth, and One Campus Martius. According to the database of Artprice, KAWS first appeared in the auction market in Tokyo, Japan in 2008. After just two decades, the total auction turnover reached 27.68 million USD (860 million TWD) for the whole of 2018, and surpassed 58.68 million USD (approx. 1.8 billion TWD) in the third season of 2019. According to transaction volume as an artist, he is ranked 16th. In fact, through private deals with galleries or other trading platforms, the actual market for KAWS is definitely much higher than this. As his artistic value continues to appreciate, all further developments are definitely worth a close look.

KAWS 作品二十大拍賣成交排行 1

Kaws專輯 The Kaws Album

回家的路 The Walk Home

森林中 In the Woods

無題 (致命集團) Untitled (Fatal Group)

全副武裝 Armed Away

2005 Acrylic on canvas 101.6 x 101.6 cm

2012 Acrylic on canvas 173 x 219.1 cm

2002 Acrylic on canvas over panel (triptych) 147.6 x 275.3 cm

2004 Acrylic on canvas 173 x 173 cm

2014 Acrylic on canvas 223.2 x 503 cm

預估價 Estimate

US$764,328~1,019,104 HK$ 6,000,000~8,000,000

US$600,000~800,000

US$1,500,000~2,000,000

US$700,000~900,000

成交價 Sold at

US$1,528,811~2,038,415 HK$12,000,000~16,000,000

成交價 Sold at

US$5,955,000

成交價 Sold at

拍賣日期 Auction Date 紐約富藝斯Philips, New York May 16, 2019

拍賣日期 Auction Date 紐約佳士得Christie’s, New York May 16, 2019

拍賣日期 Auction Date 紐約富藝斯Philips, New York November 15, 2018

無題 (Kimpsons) Untitled (Kimpsons)

Kurf (熱狗) Kurf (Hot Dog)

Kurfs (糾纏) Kurfs (Tangle)

無題 (Kimpsons #3) Untitled (Kimpsons #3)

米其林 (KCB7) Chum (KCB7)

2003 Acrylic on canvas 101.6 x 101.6 cm

Acrylic on canvas 172.7 x 172.7 cm

2009 Acrylic on canvas 182.8 x 243.8 cm

2003 Acrylic on canvas 101.6 x 101.6 cm

2012 Acrylic on canvas mounted on panel 213.3 x 172.7 cm

預估價 Estimate

US$509,552~764,328 HK$4,000,000~6,000,000

US$1,500,000~2,000,000

US$600,000~800,000

US$300,000~500,000

成交價 Sold at

US$2,660,000

成交價 Sold at

US$509,552~764,328 HK$4,000,000~6,000,000 成交價 Sold at

US$2,412,500

US$14,772,676 HK$115,966,000 拍賣日期 Auction Date 香港蘇富比Sotheby's, Hong Kong April 1, 2019

US$2,697,440 HK$21,175,000 拍賣日期 Auction Date 香港蘇富比Sotheby's, Hong Kong April 1, 2019

拍賣日期 Auction Date 紐約蘇富比Sotheby's, New York May 16, 2019

US$3,855,000

US$2,655,000 拍賣日期 Auction Date 紐約佳士得 Christie's, New York May 15, 2019

US$3,495,000

US$2,621,008 HK$20,575,000 拍賣日期 Auction Date 香港蘇富比Sotheby's, Hong Kong April 1, 2019

成交價 Sold at

US$3,073,547 HK$24,125,000 拍賣日期 Auction Date 香港佳士得Christie’s, Hong Kong May 25, 2019

成交價 Sold at

拍賣日期 Auction Date 紐約佳士得Christie’s, New York November 15, 2018

[ ART & INVESTMENT ]

TOP 20 MOST EXPENSIVE ARTWORKS OF KAWS EVER SOLD AT AUCTION

TOP

製表 ∕ Josephine Chen （Update 2019.08.21; Source: Artprice.com, Christie's, Sotheby's, Philips）

NYT (同伴特寫) 棕 NYT (Companion Close Up) Brown

重新出發 Clean Slate

半滿 Half Full

一次又一次 Again and Again

無題 (MBFU9) Untitled (MBFU9)

2013 Acrylic on canvas 121.9 x 182.9 cm

2014 Fiberglass, metal structure and paint Ed. 1/3 700.1 x 548.6 x 548.6 cm

2012 Acrylic on canvas 304.8 x 243.8 cm

2008 Acrylic on canvas 172.8 x 172.8 cm

2015 Acrylic on shaped canvas on panel 153 x 153.4 cm

預估價 Estimate

US$1,523,200 ~2,284,801 £1,200,000~1,800,000

US$900,000~1,200,000

US$700,704~955,506 HK$ 5,500,000~7,500,000

US$327,415~458,381 £250,000~350,000

US$300,000~500,000

成交價 Sold at

US$1,995,000

成交價 Sold at

US$1,340,000

US$2,299,081 £1,811,250 拍賣日期 Auction Date 倫敦佳士得 Christie’s, London June 25, 2019

成交價 Sold at

拍賣日期 Auction Date 紐約富藝斯Philips, New York November 15, 2018

US$1,395,039 HK$10,950,000

US$1,348,952 £1,030,000

拍賣日期 Auction Date 香港富藝斯Philips, Hong Kong May 26, 2019

拍賣日期 Auction Date 倫敦蘇富比Sotheby's, London October 5, 2018

成交價 Sold at

拍賣日期 Auction Date 紐約富藝斯 Philips, New York May 16, 2019

繼續前進 Keep Moving

無題 Untitled

移動鏡子 Moving the Mirror

同伴 (Original x Fake) Companion (Original Fake)

Kimpson系列 Kimpson Series

2012 Acrylic on canvas 189 x 79 cm

2016 Acrylic on shaped canvas 182.9 x 132.1 cm

2010 Acrylic on canvas 122.3 x 213.5 cm

2011 Fiberglass, paint Ed. 2/3 243.8 x 121.9 x 91.4 cm

2003 Acrylic on canvas 101.6 x 101.6 cm

預估價 Estimate

US$207,908~346,514 £150,000~250,000

US$450,000~550,000

US$919,725~1,313,892 £700,000~1,000,000

US$800,000~1,200,000

US$382,164~636,940 HK$3,000,000~5,000,000

成交價 Sold at

US$1,124,000

成交價 Sold at

US$975,000

US$1,259,927 £909,000 拍賣日期 Auction Date 倫敦富藝斯 Philips, London March 9, 2018

成交價 Sold at

拍賣日期 Auction Date 紐約富藝斯 Philips, New York May 15, 2019

US$1,123,378 £855,000 拍賣日期 Auction Date 倫敦富藝斯 Philips, London March 7, 2019

成交價 Sold at 拍賣日期 Auction Date 紐約蘇富比Sotheby's, New York November 14, 2018

成交價 Sold at

US$939,486 HK$7,375,000 拍賣日期 Auction Date 香港蘇富比Sotheby's, Hong Kong April 1, 2019

GÉRARD GAROUSTE’S

CONTEMPORARY CLASSICAL PAINTING 傑哈．賈胡斯特的當代古典繪畫 Text / 陳怡潔 Josephine Chen

Photo / Ravenel International Art Group、Getty Images、Top Photo Group達志影像、 Musée de la Chasse et de la Nature, Paris、Mr. Chen Ying-Te 陳英德先生

現年 73 歲的法國藝術家傑哈．賈胡斯特（Gérard Garouste），1946 年出生於巴黎，他是法蘭西藝術院院士，法國最傑出的當代畫家之一，也是泉源協會（Association La Source）的創辦人，致力提供貧窮孩童藝術教育機會，目前來往於諾曼地和巴黎間工作、居住。

[ THE ARTIST ]

「他或許才是最現代的。」─ 當代法國哲學家米歇．翁福雷如此形容賈胡斯特。今日的具象古典繪畫大師

從巴黎到世界

賈胡斯特畢業於巴黎美術學院，1970 年代開啟創

1980 年賈胡斯特在巴黎杜宏─迪賽爾畫廊（Galerie Durand-Dessert）舉行個人首展。

作生涯，這時期的法國藝術界處於無所禁忌的先鋒時

如閃亮新星般崛起於法國藝壇，他頂著年輕成名的光環，來到紐約里奧．卡斯特里畫廊

代，創作者在媒材和技法上紛紛推陳出新，藝術的範

（Leo Castelli Gallery）展出，卡斯特里很欣賞賈胡斯特，收藏他許多大幅作品。賈胡斯

圍被重新定義。1965 至 1972 年在巴黎美術學院學習

特更陸續展覽於世界各地，如義大利杜林的思佩羅內畫廊（Galleria Sperone）、德國科

時，賈胡斯特曾在老師古斯塔夫．桑吉耶的工作室中，

隆的魯道夫．卓納畫廊（Rudolf Zwirner）、東京東高現代美術館（Touko Museum）以

和觀念藝術先驅馬塞爾．杜象一同共事，然而卻走向

及洛杉磯現代美術館。

另一條創作途徑，在傳統美學架構之下，回歸古典故事畫創作。賈胡斯特主張回到具象，其作品充滿象徵意涵，各種奇幻怪誕的人、動物，形塑於劇場般的構圖之中，

1988 年巴黎龐畢度中心為其舉行個展，2009 年羅馬法蘭西學院舉行其大型回顧展。作品收於紐約現代美術館、巴黎龐畢度中心和現代美術館、法國卡昂美術館、聖塔莫妮卡美術館等機構。亦有公共雕塑作品，如位於巴黎近郊聖克盧公園（Le Parc de SaintCloud）的《太陽王》（Le Défi du Soleil）。

這或許和他 1977 至 1982 年間曾從事劇場設計和室內裝潢的背景有關。充滿戲劇張力的情節安排、強烈的色彩和劇烈的明暗對比，賈胡斯特的畫作頗具文藝復興時期威尼斯畫家丁托列托和西班牙畫家艾爾．葛雷柯之大師風範。

文學經典當代詮釋希臘羅馬神話是賈胡斯特創作重要的靈感來源，此外他也取材自聖經、賽萬提斯的《唐吉軻德》、拉伯雷的《巨人傳》和哥德的《浮士德》等文學作品。他將經典文本融入當代創作，以現今社會視角，重新闡釋這些故事角色。他的作品雖技法上傳統，內涵卻是與時俱進的。 1980 至 1987 年賈胡斯特的名聲逐漸確立，其中 1986 至 1987 年間他創作了一系列以《神曲》（The Divine Comedy）為主題的油畫，近二十件巨幅逸品長寬皆兩百餘米，極適合大型博物館收藏。《神曲》是文藝復興初期義大利詩人但丁的作品，作於西元 14 世紀前葉，是一部充滿隱喻性、象徵性，同時也具現實性的奇幻文學，敘述但丁幽遊三界，歷經地獄、煉獄，最終來到天堂的神祕旅程，如同一場自我救贖，從暗地回到光明。串連文學和超現實幻想，賈胡斯特在作品中探討人類文化、時間及穿越等概念，讓觀者解讀圖像背後的象徵意涵，感受畫作帶來的啟示和力量。

藝術家傑哈．賈胡斯特與其作品，攝於2018年3月8日巴黎美術學院展覽 Artist Gérard Garouste is pictured during an installation of his exhibition, on March 8, 2018 at the Fine Arts school in Paris. © JOEL SAGET/AFP/Getty Images 傑哈．賈胡斯特《無題》1986-87年油彩畫布 236 x 200 cm 羅芙奧2019秋拍「薈萃：國際現代與當代藝術」 Gérard Garouste, Untitled, 1986-87, oil on canvas, 236 x 200 cm Ravenel Autumn Auction 2019 Select: Modern & Contemporary Art

"Perhaps he is the one that is the most modern. " － Is how contemporary French philosopher Michel Onfray describes Garouste.

傑哈．賈胡斯特《神曲的故事》1986-87年油彩畫布 250 x 215 cm 羅芙奧2019秋拍「薈萃：國際現代與當代藝術」 Gérard Garouste, Les violents contre eux-mêmes, 1986-87, oil on canvas, 250 x 215 cm Ravenel Autumn Auction 2019 Select: Modern & Contemporary Art

Now 73 years old, French artist Gérard Garouste was born in Paris in 1946. He is a member of the Académie des Beaux-Arts, and is a leading figure in French contemporary art. He is also the founder of the Association La Source, an organization committed to providing educational opportunities for children from low income families. Garouste currently lives and works between Normandy and Paris.

The figurative classical painting master of today Gérard Garouste graduated from the École nationale supérieure des Beaux-Arts in Paris, and began his creative career in the 1970s. During this period, the French art scene was in the midst of a pioneering era where nothing was taboo. This era gave birth to a large number of new art mediums and techniques. While studying at the École nationale supérieure des Beaux-Arts in Paris from 1965 to 1972, Garouste once worked alongside Marcel Duchamp in his teacher Gustave Singier's studio. However, he took a different path from the avant-gardist, and returned to the history painting with traditional aesthetic. Gérard Garouste advocates for a return to figuration. His works are filled with symbolic meanings, myriad fantasy and grotesque human and animal figures shaped into theater-like compositions. The use of theatrical elements in his works are perhaps due to his background in theater and interior design during the years 1977 to 1982. Filled with dramatic tension of plot arrangements, intense colors and sharp contrasts between light and darkness, Garouste's paintings are on par with master painters such as the Venetian painter Tintoretto from the Renaissance, and the Spanish painter El Greco.

[ THE ARTIST ]

A Contemporary Interpretation of Literary Classics Greek and Roman mythology is an important source of inspiration for Garouste. In addition, he also draws inspiration from literary works such as the Bible, Cervantes's Don Quixote, Rabelais's The Life of

Gargantua and of Pantagruel and Goethe's Faust. By incorporating literary classics into contemporary artworks, Garouste reinterprets the characters within these stories from the perspective of modern society. Although the techniques used to create his works are traditional, the connotations he found within them advance along with the times. Between 1980 and 1987 Garouste's renown was established. It was during the years from 1986 to 1987 that he created his famous oil painting series based on The Divine Comedy which consists of nearly twenty gigantic pieces, each over two meters in both length and width, making them immensely suited for large museum collections. The

Divine Comedy is the work of Dante, an Italian poet and forerunner of the Renaissance. Written in the early 14th century, it is a largely metaphorical, symbolic, and simultaneously realistic fantasy literature. It tells the story of Dante's mysterious journey through the three worlds, Hell, Purgatory, and Heaven, symbolizing a journey ending in self-salvation, from darkness to the light. Garouste connects literature with surrealistic fantasy to explore the human culture, time and the concept of traversal, allowing viewers to interpret the symbolic meanings behind the imagery, and experience

傑哈．賈胡斯特《黛安娜與阿克泰翁》2015年壓克力畫布 200 x 260 cm Gérard Garouste, Diane and Actaeon, 2015, acrylic on canvas, 200 x 260 cm © musée de la Chasse et de la Nature, Paris - David Bordes 傑哈．賈胡斯特公共雕塑《太陽王》，2016年4月7日攝於巴黎近郊聖克盧公園，照片由藝術家陳英德提供 Public sculpture Le Défi du Soleil by Gérard Garouste is pictured on April 7, 2016 at Le Parc de Saint-Cloud, photo courtesy of artist Chen Ying-Te

the inspiration and power that paintings can bring.

From Paris to the World Garouste held his first solo exhibition in 1980 at the Galerie Durand-Dessert in Paris, and rose quickly to fame in the French art scene. As a young and rising star, he came and held an exhibition at the Leo Castelli Gallery in New York, and due to his great admiration of Garouste, Castelli purchased and collected a large number of Garouste's works. Garouste continued on to exhibit all around the world, at venues such as Italy's Galleria Sperone, Germany's Rudolf Zwirner, Tokyo's Touko Museum, and the Los Angeles Museum of Modern Art. The Centre Pompidou held a solo exhibition for him in 1988. In 2009, the French Academy in Rome hosted a large scale retrospective exhibition of Garouste's works. Collections of his works can be found at the Museum of Modern Art in New York, the Centre Pompidou in Paris, and the Paris Museum of Modern Art, the Musée des BeauxArts de Caen, and the Santa Monica Art Museum, and more. Public sculptures such as his Défi du Soleil in Le Parc de Saint-Cloud, a national park near Paris can also be seen.

Text / 唐維怡 Eva Tang

圖 / Eva Tang、Ravenel International Art Group

為何會有「混釀」工藝的出現 ? —「天」、「地」

品酒的人都知道，「天．地．人」三要素決定了一瓶葡萄酒的特性。天，代表當地的氣候條件與天候狀況；地，代表產區土壤等自然風土條件；人，則是莊主與釀酒師因理念與市場做出的種種判斷與抉擇。進一步瞭解波爾多的「天．地．人」，我們便可以理解「混釀」技法在波爾多的出現與發展並非偶然，而是命中注定。「天」

波爾多產區屬於海洋型氣候，大面積的海域有著良好的溫度調節功能，生長季較長，讓葡萄果實有時間慢慢熟成，醞釀出飽滿而有層次感的風味。然而，

人定勝天－淺談波爾多混釀工藝

海洋型氣候同時帶來了不穩定的降雨量，而這個不穩

CLIMATE SOIL

導致黴菌問題嚴重，是一個較為艱困的年份。

定性對波爾多地區有著深遠的影響。首先，它造就了葡萄酒「年份」的重要性，舉例來說，葡萄果實成長與採收時節幾乎沒有任何降雨的 1982 年，是波爾多公認的世紀年份，葡萄成熟度高，酸度與糖份比例均衡，釀出來的葡萄酒有著堅強的陳

BORDEAUX BLEND

年潛力；反觀 2007 年，雨水過多加上日照時間不足，

再者，大自然環境的不穩定，迫使果農們不得不將雞蛋分散在不同的籃子裡，他們會種下不同的葡萄品種，以便在某一個品種無法完美熟成的那一年，依然可以有產出、有收入。舉例來說，波爾多三大紅葡

法國波爾多是全世界最知名的葡萄酒產區，超過一萬兩千公頃的葡萄園與

萄品種之一的 Merlot，因達到完全熟成所需要的時間

七億瓶的年產量，年產值超越 35 億歐元，生產規模之龐大不僅左右著全

較少，因此即便在氣候狀態不佳的年份依然可以把握

球葡萄酒市場的脈動，來自波爾多的生產技術更深深影響著全世界各地的

有限的生長時間達到較高的熟成度，自然而然有了栽

葡萄酒產區。

種上的優勢，成為整個波爾多地區栽種面積最廣泛的

若要說到波爾多地區葡萄酒有別於其他產區的最大特點，莫過於「混釀」

葡萄品種。然而，果實顆粒偏大且果皮薄的特性，也

工藝。而「混釀」，顧名思義，便是運用多種不同葡萄品種釀造的酒液混

使得 Merlot 較其他品種更容易受到霜害與病蟲害的摧

合調配而成。

殘而腐壞，在災害頻傳的波爾多地區，無法被果農們全心倚賴。

喝

酒

不

開

車

[ WINE ]

「地」

來自庇里牛斯山和法國中央山脈的冰河沖刷，造就了波爾多左岸獨特的地理環境，排水良好的鵝卵石與砂礫土壤，恰恰適合充滿個性的 Cabernet Sauvignon；而主要由黏土和沙質土壤組成的波爾多右岸土壤，則適合性格柔軟的 Merlot。各產區不同的土壤組成，再加上每年氣候狀況的不同，使得每一個年份對於波爾多地區的酒農來說都是一場全新的挑戰。為了維持每一年的水準與品質，波爾多的酒農於是研發出了獨特的混釀技法，依照當年度葡萄果實的熟成狀況，以適當的比例來調配，盡力降低惡劣氣候帶來的負面影響，讓每一個葡萄品種的優點得以在其他品種的襯托下加乘放大，在香氣與口感上創造出完美的平衡。誰決定如何「混釀」? —「人」

從波爾多的葡萄種植歷史我們可以看到，早先是沒有清楚的混釀概念的，一塊田裡往往交雜栽種著許多不同品種的葡萄，採收時也不會特別分開釀造，就這麼不自覺地混釀起來。隨著波爾多市場的擴展與對品質的更高追求，這項技藝衍生到如今加入了科技，已經成了精密農業。酒農們透過不斷的試驗知道不同的土壤成分會讓一樣的葡萄品種有著不一樣的表現，因此一塊土地就在種種條件的堆疊劃分下，切成無數的小區塊，進行獨立的土壤成分分析、栽種，每個小區塊的收成各自釀造，並在橡木桶、不鏽鋼槽、或水泥槽中培養出各自的特性後，最後才在過濾前，經過莊主、釀酒師、與顧問團隊的取樣品鑑，決定這一年度的調配比例。「混釀」早已成了波爾多葡萄酒畫龍點睛的存在，它代表的是釀酒師的追求和酒莊的風格，而不僅僅是一種技法，調配的比例對某些酒莊而言甚至是代代相傳的秘方，從不對外公佈。波爾多從不甚完美的環境與氣候條件中走出了一條屬於自己的道路，或許單一品種葡萄酒能最大化展現該品種獨一無二的特色，但混釀卻向世人展現了融合多個品種優點所呈現出的平衡感，是其他產區無法取代的風格。單一品種與混釀並無孰優孰劣之分，只是，不一樣。

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T h e B o rd e a u x R e g i o n o f F r a n c e i s t h e w o r l d ' s p re m i e r w i n e p ro d u c i n g re g i o n . T h e re g i o n c o n t a i n s 1 2 , 0 0 0 h e c t a re s o f v i n e y a rd s a n d p ro d u c e s o v e r 7 0 0 m i l l i o n b o t t l e s p e r y e a r w i t h a n a n n u a l o u t p u t v a l u e o f o v e r 3 . 5 b i l l i o n e u ro s . T h e mas s ive pro d uct ion sca le not only ma kes it a glo ba l h u b o f t h e w in e in du s t r y bu t , mo re imp o r t an t l y, B o rd e au x 's v i t i c ul tu re tec hnology ha s a prof ound inf luence o n w o r ldw id e w in e pro d u ct io n . T h e b l e n d e d f e r m e n t a t i o n p ro c e s s i s w h a t m a k e s B o rd e a u x ' s w i n e m a k i n g p ro c e s s u n i q u e . B l e n d e d f e r m e n t a t i o n , a s t h e name impl ie s , is t he expert blend ing of d iffe re n t g r a p e v a r ie t ie s d u r in g t h e fe r me n t a t io n pro ce s s . What is the origin of Bordeaux Blend? － The Climate and the Soil

Wine connoisseurs know that a wine's characteristics are composed of the three elements of climate, Soil and people. Climate represents the climate and atmospheric conditions. Soil represents the natural conditions of the terrain. People represents the owner and winemaker whose decisions are influenced by both market demands and their own creativity. As we take a closer look at the climate, soil and people of the Bordeaux region, we will begin to understand that blending method was not developed accidentally but that was in fact destiny. The Climate

The Bordeaux region has a marine climate with a large coastline that helps to regulate the temperature. The growing season is very long which helps the grapes ripen slowly so that the grapes yield a full and complex flavor. However, the marine climate also brings unpredictable precipitation which had a profound impact on the Bordeaux region. First of all, it made the concept of "vintage" important. Vintage 1982, for example, has nearly zero rainfall during growing and harvest season, which resulted in one of the greatest vintage over the century. The grapes were considered to be fully ripened and the ratio of acidity and sugar was perfectly balanced. This meant the wine had a potential for aging. In contrast, excessive rain and too little sunshine during the 2007 harvest season led to a serious mold issue, which resulted in a difficult year. Moreover, the precariousness of the region's climate compels the grape farmers not to put all of their eggs in one basket by growing only one grape variety. Local farmers have learned through experience to plant different grape varieties so that even if one variety does not have optimal yield that particular year, there will still be grapes to harvest, to make wine, and to make profit. For example, Merlot, one of the three primary grape varieties in Bordeaux, has the advantage of having a shorter maturation period. Therefore, even during difficult years with bad weathers, the grape

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[ WINE ] is still able to reach a high level of ripeness. This distinct advantage has made it the most widely-grown grape variety in Bordeaux. However, the large berries and thin skin also make the Merlot more susceptible to frost and pest damage compared to other varieties. In the disaster-prone Bordeaux region, fruit growers cannot rely on only Merlot. The Soil

Ancient glaciers from the Pyrenees Mountains and the Central Mountain Range carved the landscape over centuries to create the unique geographical condition of Bordeaux's left bank where well-drained pebbles and gravel soil are ideal for the temperamental Cabernet Sauvignon. The right bank, on the other hand, is primarily composed of clay and sandy soil, which is perfect for the soft-tempered Merlot. The unique soil conditions of each region, coupled with the varying climatic conditions create a new challenge for Bordeaux wine growers every year. In order to maintain the quality standard from year to year, Bordeaux winemakers have developed a unique blending technique which involves

The People

adjusting the proportion of different grape variety according to its ripening

Looking at the history of viticulture in the Bordeaux region, we can

condition that year. This helps mitigate the negative effects of poor weather

see that the blended technique did not exist in the past. A vineyard often

conditions by allowing the grape varieties to complement and augment each

contained a random assortment of different grape varieties which were not

other's advantages, creating a perfect balance of aroma and taste.

separated before fermentation and resulted in an unintentional mixture. With the growth in demand for Bordeaux wine and the pursuit of higher quality, the technique has been further enhanced with modern technology and has transformed into a form of precision agriculture. Through years of constant experimentation, winegrowers have learned that same grape variety planted in different soil components will have very different characteristics. Consequently, the vineyard is divided into subsections according to its soil type, its sunlight condition, the grape variety,…etc. And each subsection received independent soil composition analysis, harvested separately, and are fermented in oak barrels, stainless steel or concrete grooves respectively. Finally, just before filtering, the winemaker and a team of experts, will taste the samples and determine the ideal formula of blending at that particular vintage. The Bordeaux Blend has long been the magic touch that distinguished Bordeauxs wines from the others. It is way more than just a technique, it represents the aspirations and individuality of each winemaker. In some wineries, the blending formula is passed down from generation to generation as a closely guarded secret. From its humble beginnings as a less-than-ideal growing region, Bordeaux has blazed its own trail in the world of winemaking. A single wine variety may bring out the unique characteristics of that variety, but the blending presents wine aficionados with the synergistic fusion of multiple varieties. This unique sense of balance cannot be found in any other wine producing region. Neither single variety wine nor blended variety wine is better than the other, they are simply different.

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愛馬仕珍稀皮件的傳奇與現實

OF HERMÈS AND LEATHERS, THE REAL LEGENDS

Text / 劉允華

Photo / Ravenel International Art Group

喜愛愛馬仕的讀者，相信多少都會知道這個著名的事件： 2017 年，一款 2014 出品的喜馬拉雅鑲鑽柏金包，在香港拍賣場上以 380,000 美元的高價售出。這款傳奇性的經典設計，在首刻版出品的數十年後依然魅力不減。而本件作品之所以高貴，不僅來自於其上鑲嵌的 18K 金扣與 205 顆碎鑽，更在於它是由在愛馬仕系列產品中最為珍稀的，因彷如雪罩山峰般漸變色澤而著名的尼羅鱷皮所製成。

[ LUXURY ]

無法取代的皮革專業

以高品質皮件起家的愛馬仕，使用的原料種類繁多：鱷魚皮、羊皮、牛皮、小牛皮、蜥蜴皮與鴕鳥皮等等，各種皮革之間可依據產地、物種與加工程序予以分類。例如鱷魚皮即有來自辛巴威的尼羅鱷、來自東南亞或澳洲的灣鱷、來自美國密西西比的短吻鱷等。愛馬仕皮革工藝的卓越之處，在於重視原皮特質、遵守傳統製皮方法，並精煉封邊、縫線與鎖扣等技術直臻完美。例如考量蜥蜴原皮尺寸，只將其用於小型包或配件；或在製作最為知名的喜馬拉雅尼羅鱷皮時，為了展現白雪黑巖的概念，在不破壞原有紋路的前提下，每次都必須經過耗費無數時間精力的多道染色工法，才能獲取色調遞移的效果，染出在鱷皮上最難以求得的淨白色質。以這些皮革精工打造的凱莉、柏金等包款，至今仍是愛馬仕最受用戶榮寵的作品。光是處於流通狀態的柏金包，根據專家估計，在全球市場中的數量就可能多達 100 萬，而在品牌包款的銷售裡，稀有皮革製品比率也約有 15%。根據 Deloitte 在 2019 年出版的市場調查，在這些產品的支持下，盈利率可達 22.1%，遠高於絕大多數的品牌。永續經營的企業責任

對於精研皮革工藝的愛馬仕而言，在採集與製皮手續之間，人道與環境生態等價值也有相當

霧面喜馬拉雅NILO鱷魚皮30公分柏金包附銀色金屬配件特別訂製拼色亮面ALLIGATOR鱷魚皮25公分外縫凱莉包附金色金屬配件霧面ALLIGATOR鱷魚皮25公分內縫凱莉包附金色金屬配件

重要的地位。品牌一再重申遵守國際法律規範，如稀有皮品項都會附上 CITES 證書，證明皮革並非來自於瀕臨絕種動物。另外在採集皮革時，也設定了比法規更嚴格的標準，要求協力廠商切實遵循。為了回應更高的消費標準，愛馬仕還加入了與產品元件息息相關的全球減碳協議、鑽石生產倫理認證等等行動。另一方面，品牌也宣稱將持續投入配件、香水、彩妝等新產品的研發和營銷，降低公司對凱莉包和柏金包等經典品項的依賴。或許在可預見的未來，愛馬仕的珍稀皮革包款並不會陷入許多分析師所指出，由於生產過量所造成的稀釋效應；而享譽世界的高品質手工與用料，加上品牌堅守的永續價值，也必能保持愛馬仕產品的出眾價值不墜，歷久彌新。難能可貴的特選品項

羅芙奧藝術集團，多年來持續經營愛馬仕包款，堅持嚴謹從事，提供最高品質的相關私洽業務，服務客群眼光獨到。為了答謝客戶的信賴與支持，我們將會謹守初衷，拓展新猷，不斷擴張的市場維持一股清新活力。 41

For those who love the Hermès products, this would be more or less a wellknown event: in 2017, one Himalaya Birkin with diamond was auctioned in Hong Kong by the price of $380,000. This legendary classic design holds firm to its beloved values, even after decades of its birth. This particular item was sold for such a price, not only because of the 18k gold button or 205 diamonds, but also due to its material most distinguished in the house, the Nile Crocodile leather dyed as the gradient of the snowy summit.

OSTRICH鴕鳥皮30公分柏金包附金色金屬配件亮面POROSUS鱷魚皮25公分柏金包附金色金屬配件

Unreplicable Craftsmanship in Leather

Beginning in the crafts of leather, Hermès employs many different leathers: Crocodile and alligator, lamb, calf, veal, lizard, ostrich, etc., and can be categorized by their origins, species or procedures. For example, there can be Nile Crocodiles from Zimbabwe, Porosus Crocodiles from South-east Asia or Australia, and Alligator Crocodiles from Mississippi. The extraordinary craftmanship Of Hermès comes not only from the utmost respect towards the characteristics of raw materials and traditional craft, but also towards the basic techniques like sealing and sewing with standards no less then perfection. For example, the lizard skin would only be used for small bags or accessoires due to its size; when crafting the most famous Himalaya skin, in order to realize the concept of white snow and dark rocks, multiple coloring crafts are applied without smearing the original texture, costing countless hours and works. Only in this way can it results in the gradient effect that melts into the pure white which is utterly difficult to achieve in crocodile skin. Until this day, the Kelly and Birkin from Hermès' leather craft are still the most cherished works by the clients. From experts'estimation, there would be a million Birkin bags circulating in the global market. In another estimation, the rare leather products can make up to 15% of the bags sold by the brand. According the 2019 Delotte market survey, these products support the brand with a 22.1% margin rate, a number that is far higher then the most of luxury brands.

[ LUXURY ]

An enterprise responsible to a durable management

Between gathering and crafting the leather, Hermès also regards highly towards humanitarian and ecologic values. The brand follows the international regulations dearly. An example would be the CITES certificate that comes with every rare leather product to demonstrate craft without endangered species. In addition, the brand instates standards more rigid than the law onto its associates. Furthermore, in order to respond towards higher consumer ethics, Hermès participates willingly the global carbon reduction actions and ethic diamond certifications regarding the elements of production. In the other hand, the brand has announced to further invest in the accessories, perfumes and cosmetics, in order to lower its dependency of the classic designs. From this perspective, the future « inflation » foretold by many analysts due to over-production would not become the reality. The world-famous quality of Hermès would therefore not be diminished, if not only by its craft and its promise of durable ways.

Extinguished Selection fo Our Special Clients

Ravenel International Art Group, with its many years of experience of Hermès bags' resale, its conscientious character and precise taste, continues to provide the clients the best private dealing service. We are most grateful to the trust and support of our guests, and vow solemnly to keep our promises, adapting to the ever-changing world, and keep acting as a refreshing name in this expanding market.

天地間皆為圖畫，圖畫中自有天地 — 黃君璧「渡海三家」之一黃君璧主張寫生山水，又喜愛遊歷名山，在傳統的國畫本質上，添加西畫的寫實，令其筆下的白雲飛瀑作品轟動海內外藝壇，同時令後世觀者體驗大自然的宏偉。

Text / 周媛玲 Connie Chau

Photo / Ravenel International Art Group

黃君璧早年受西畫影響，喜愛遊歷山水，注重寫生，講究構圖、明暗及透視點表現，準確的描繪山水，但不失國畫的本質，表現山水的神韻及氣勢，不愧被後世推崇為「渡海三家」—最傑出的山水國畫大師之一。黃君璧擅於畫雲與畫瀑布，在其筆下的兩者均具個人的特色與創新，白雲飛瀑作品更轟動國際藝壇。香港文化界作家任畢明曾對藝術家笑道：「君翁筆下雲能動，怪底年年帶雨來」，讚歎黃君璧筆下的雲騰雨致，藝術家猶如雨師，觀者亦猶如置身於水氣濕潤、青翠盎然的山水景緻。故宮博物院前副館長李霖燦教授亦曾說：「黃先生的畫雲，除了古法之外，便是在實景上心神領會而來，他曾到阿里山的塔山處觀察雲海，也是日後畫雲的最佳藍本」。從此可見，黃君璧的雲以靜態為主，再從細微的觀察與表現，呈現雲與水的濕度，靠近地面的雲霧濕度較高、寒冷高山的則較乾燥。此變化得自遊歷宏偉山河的細微觀察所得，也是黃氏主張大自然寫生的目的。

[ FINE CHINESE PAINTINGS ]

黃君璧《雲歸大壑》1963 水墨紙本鏡框 75.5 x 142.5 cm 釋文：雲歸大壑款識：癸卯春日畫於白雲堂，黃君璧。鈐印：黃君璧（白文）、君翁日利長年（朱文）、白雲堂（白文）羅芙奧台北2019秋季拍賣會翰墨丹青—中國書畫專場

攝於阿里山蒼茫無際的雲海

自古以來，國畫對於畫面的佈置或章法的經營要求嚴謹，大小題材

黃君璧曾引用「天地間皆為圖畫，圖畫中自有天地」。空間的存在，

的選擇，山、水、草木的配置，均需要經過精思熟慮，是畫家的個性與

代表著虛擬時間性的流動，以空間配合雲層的演繹，讓觀者彷如置身於

認知的表現方式，更是對古畫傳承的堅持。黃君璧對於構圖甚為執著，

恆動而自然存在的宇宙，體會彷靜若動、無止境的大自然力量，表達個

曾表示「中國畫貴在氣韻，通幅作品的構成，除思想情趣外，更要講求

人對比大自然的渺小，達致天人合一的境界。

取勢……勢是什麼，應該包括了賓主朝輯之勢，虛實掩映之勢，輕重讓就之勢，開合張啟之勢與山川地理之勢，它既是畫家個人的體勢、心靈的節奏與律動，也是大自然的形勢與氣勢」。構圖上必須符合大自然的節奏，捕捉萬層雲海與草木之間的律動，在靜態之中尋找與體現從中萬物生生不息的動勢。此幅《雲歸大壑》描繪的主題為磅礴浩邁的雲海，但若光是大氣的稠密，題材甚為單薄，前景再添「陸」的造景元素，增添山嶺及稀薄的樹林，虛實互補，主賓相應，為畫面增進視覺空間，開創藝術家與觀者的一種心境的交流與共鳴。黃君璧登高遠眺，眼見白雲連綿不斷，一望無際，白雲籠罩群峰之境，利用筆墨描繪雲海的蒼茫，以磅薄的山水表達藝術家的情感，再讓萬物躍躍欲動的力量從藝術家的筆尖破天而出，成功地讓藝術品昇華至另一個層次。

海天畫廊位於西門町繁華的地帶，面對著 60 年代台灣藝術市場活躍及海外思潮的衝擊，海天畫廊正是推動台灣藝術交流的重要軸心。其藝文沙龍推動藝術講學研究，同時是重要藝術家的切磋之地。主理畫廊的陳太太身為黃君璧的弟子，受大師的耐心教導及啟蒙。《雲歸大壑》一畫更是陳夫人得自黃君璧先生本人，當時同向大師學畫的宋美齡女士亦對此幅作品喜愛不已。 Early works of Huang Chun-Pi were inspired by Western paintings. While visiting majestic landscapes, he enjoyed drawing on the spot, paying special attention to structure, application of light, and focus points in his works. With such meticulous attention to detail, he was acclaimed as one of the best landscape artists of all times, and crowned as one of the three greatest artists moved to Taiwan after the war.

[ FINE CHINESE PAINTINGS ]

Clouds and waterfalls were his favourite subjects, painted with

Huang once mentioned "Every scene of nature could be a picture".

unique techniques and personality. Such paintings were acclaimed

Such depiction of intangible space and clouds highlights the changes of

internationally as a Hong Kong cultural critic once claimed, "Huang's

time, leading the viewer to feel the elusive power of Nature, juxtaposing

clouds move, no wonder he brought so much rain to Hong Kong each

our minute existence with the grandiosity of the universe â&#x20AC;&#x201C; the primary

year". Huang's clouds and mists were realistically painted, as if one

pedestal of Chinese philosophy.

could feel the moist. Li Lincan, ex-Deputy Director of the National Palace Museum of Taiwan mentioned that Mr Huang's clouds and mists blended traditional painting skills with personal observation. Works depicting a sea of clouds were inspired by one of Alishan's renowned scenes, thus formed a blueprint of his later works. One could see the close resemblance to the actual environment, with humid mists closer to the ground, whereas thicker clouds in higher altitudes. This demonstrates Huang's persistence in realistic paintings. Structure is hugely emphasized in traditional Chinese paintings,

Situated in the most vibrant area of Ximending, Hai Tien Art Gallery witnessed the crucial period of the dynamic Taiwanese art market in the 1960s when the East meets the West. The gallery became a primary center for Taiwanese artists sharing. Mrs Chan, who managed the gallery, was an apprentice of Huang Chun-Pi. This work was thus obtained directly from the artist and was also greatly admired by Ms Soong Mei-ling.

with closer attention to the choice of elements, such as vegetation and water. Huang once mentioned, "Aura is the primary element in Chinese paintingsâ&#x20AC;Ś Such aura determines the ranking of subjects and intangible elements, the openness of the hilly relief. Such choices depend on the artist's character and his state of mind." Structure should resemble all forms of nature describing both movement and serenity of the area. This work, Sea of Clouds , depicts majestic view of clouds enriched by vegetation and peaks of mountains. Such structure enriches the view with multiple visual spaces and opens a dialogue between the artist and the viewers. In this painting, Huang pictured endless clouds, blanketing over mountain ranges. Such majestic view hinted the vastness and buoyant side of Nature, pushing the painting to a philosophical level traditionally treasured by Chinese scholars.

「弱」建築

Text、Photo / 伊森

東京奧運開催。以自然低調見長的日本建築大師隈研吾（Kengo Kuma）擊敗各方競爭對手，拿下 2020 東京奧運主場館新國立競技場主館標案，讓人再度見識到人和自然界的和諧；團隊使用來自 47 個地區的木料，並經過特殊設計排列，讓人們從各個角度都能欣賞這些建材。而且，南風從上方吹至下方，夏日帶來清涼；北風則從下方吹至上方，冬日送來溫暖，這是一幢真

隈研吾

心臣服於自然，會呼吸的空間。

KENGO KUMA

隱藏、低調的隈研吾（Kengo Kuma），擅長與當地自然景觀融合，取用樸質的天然素材，竹子、木材、石板、紙板等，並運用傳統建築工法，給予空間日光、空氣、水流，創造看似柔軟，卻強韌且讓人感染傳統的溫馨與美。

位在日本熊本的「濱田世家」是另一個師法自然的故事。 2016 年，日本大地震嚴重損毀了熊本不少古績，有幸在日本當代建築大師隈研吾（Kengo Kuma）接手修復，成立於 1818 年的濱田醬油株式會社（簡稱 " 濱田醬油”）廠房被日本政府列為有形文化遺產得以重生。翻修後，黑瓦白牆的濱田醬油工坊，襯著一片青天，清幽地繼續著每天傳承古法鑲造的醬油。大師隈研吾一向強調環境的協調感，大量引入自然光源聞名。趁著天光，隈研吾巡著老成的醬油工坊說，為了保存日本江戶時代濱田醬油廠房古老原型，小心翼翼，力求工廠原來的基礎設計，並確保廠房倉庫和大木架桶結構的磚砌鍋爐被保存下來。 48

文化遺產濱田世家的古老滋味，在隈研吾創新的修建下，工坊內新設了熊本有名的有田燒為包裝的頂級醬油禮品區，特意開設，擺設著老時鐘與古時老櫃台，別無分號的復古咖啡店，點一分入口淡淡清鹹有味的醬油冰淇淋，配上黑豆、黃豆渣與研磨芝麻，古蹟級的醬油廠房變身近悅遠客得以一償和最道地的熊本市，接了地氣。提出「生命之樹」為主題的隈研吾，成功反轉消除自然與建築之間藩籬的「弱建築」擊敗伊東豊雄，接下 2020 年東京奧運主場「新國立競技場」大案，他提出採用大量木材突顯日本傳統，而刻意將場館整體

濱田醬油

生活就是一種平凡的滋味。

高度降低到比原本設計低 20 公尺，減少對整體環境及視野的壓迫感，讓建築物更「融入」四周的環境的「隈式」建築，巧妙融合戶外地貌與光線，傾聽建築與環境真實觸動的溫度。此刻，濱田醬油工坊呼應著同樣理念，場內古拙的釀製木桶和無數木架搭出的透空空間，迎著天光的工坊，低沈地醬油古法發酵聲，教人不得不靜思，體會人和自然工程之間和協共榮的傳統之道。

保存了品嘗山川日月最地道的風土，口感鮮美又帶甘甜的「濱田醬油」，過去兩個世紀，己歷經傳承古法釀造到了第七代，代表的是一種在地庶民美味的堅持。日本唯一超過 200 年的這款家喻戶曉的九州醬油，和熊本阿蘇火山 Mount Aso 富含礦物質的清澈泉水所提供得天獨厚的釀造資源功不可沒。但為了創新，知名老牌也開始生產客製化口味的各種沾醬，多達 2 百多種。更打進杜拜與法國高級飯店，成了星級餐飲的獨門配方。早在 1965 年濱田就生產減鹽醬油，供應醫院特殊飲食與學校營養午餐所用。濱田醬油第七代社長濱田康成堅守老字號，百年累積釀造技藝，取大豆小麥發酵釀造精華，凝聚 180 天的等待，方能釀就純正自然的醬油鮮香。從招牌上有一隻兔子發覺，有趣的是，濱田家只傳給屬兔的傳承，令人莞爾。在白飯上打一個生雞蛋，淋上醬油拌著吃的日式早餐，到柚香、生薑、胡麻、烤肉、燒魚等都有專屬醬油沾料，熊本市內日航飯店，烤肉燒魚用的都是濱田口味。尤其對刺身、壽司、豆腐冷盤等美食時，九州醬油不加料的古法釀，清甜又不失鮮美的口感，不似老抽般上色濃重，但相比一般醬油，更能讓食物原味，提上來。如今，有日本大師隈研吾加持，打瓶醬油把古早味帶回家，不得不說，濱田醬油，任重道遠。

天國之門巴黎 10 座最接近天堂的所在

巴黎聖母院大火燒出了人類宗教團結，也重新喚起對於古蹟維護的意識。重建聖母院尖塔勢必會有一段過渡期，與此同時，領你來到巴黎各具建築風貌和特色的教堂；在祥和氛圍中，迎接神的禮讚。集合 1 9 世紀的浪漫主義、玄學主義、神秘主義、超自然主義、怪奇主義、獵奇趣味、法式世紀末思想、耽美主義、古典頹廢主義之下，特殊意涵的十字架、天使之羽、惡魔之翼、薔薇、骷髏、蝴蝶、蜘蛛等等建構了哥德式建築風格。尖拱和肋架拱頂，尤其是保留古典和拜占庭傳統，密集小尖塔令人目瞪口呆。哥德建築魅力來自於比例、光與色彩的美學體驗，通過對光的形而上的沉思，對數與色的象徵性理解，使靈魂擺脫俗世物質的羈絆，迎著神恩之光向天國飛升。一種看似浪漫詭異的古典風格以及不完美的瑕疵美艷，這種美，不是每一個人都能夠體會。

聖母神慰禮拜堂 Chapelle Notre-Dame-de-Consolation 23 Rue Jean Goujon | 開放時間：參觀採預約制

聖母院大火首先讓人想到這座小禮拜堂，1897 年 5 月 4 日巴黎慈善集市 (Bazar de la Charité) 播放電影時，不慎引起大火造成了 140 多人死亡，其中不少是歐洲貴族，震驚法國社會。這座小禮拜堂被選為獻給這場集市大火的罹難者，其中最有名的是奧地利茜茜公主的妹妹蘇菲，她為了拯救火場中的女孩們而不幸喪生。

聖寵谷教堂 Église du Val-de-Grâce 1 Place Alphonse Laveran

路易十四的母親奧地利的安妮創建，可以說是巴黎最美的巴洛克風格的聖寵谷教堂，始建於 1621 年，建築師弗朗索瓦· 芒薩爾 (François Mansart) 消化了義大利浮誇的建築風格，完成這座法式古典主義的巴洛克建築，其美麗的曲線和和諧的裝飾成為 17 世紀宗教建築的典範，教堂的圓頂更是巴黎天際線的象徵性建築之一。

亞歷山大．涅夫斯基主教座堂 Cathédrale Saint-Alexandre-Nevsky 12 Rue Daru | 開放時間：二四五日 15:00~18:00

俄羅斯正教教堂的設計靈感來自諾夫哥羅和莫斯科的教堂建築，始建於 1861 年，由當時巴黎的海外俄羅斯族群贊助，連沙皇亞歷山大二世都出了一份私人捐獻，內部裝飾華美無比，聖像、馬賽克和中央圓頂內的溼壁畫令人歎為觀止，描繪耶穌、聖母和眾多聖人，1918 年 7 月 12 日畢卡索在此與俄羅斯舞者歐嘉結婚。

聖傑維聖波蝶教堂 Église Saint-Gervais-Saint-Protais 13 Rue des Barres

早在公元 4 世紀的歷史文獻中就已被提及，該建築興建於 15 世紀左右，雖然屬於火焰哥德式建築風格，卻有著不尋常的新古典主義立面，庇護著法國重要的音樂世家－庫普蘭家族 (les Couperin)。這裡目前是「耶路撒冷兄弟會」的巴黎分部，教派以以優美的歌唱聞名，強烈推薦在晚禱時間前來聆聽聖詠。

聖瑪格麗特教堂 Église Sainte-Marguerite 36 Rue Saint-Bernard

保存許多重要巴洛克繪畫傑作的這座小巧精緻的教堂，包含以查爾· 勒布倫 (Charles Le Brun) 為代表的一系列畫家留下的作品，其中最值得一看的是義大利畫家保羅 - 安東尼奧· 布魯內提 (Paolo-Antonio Brunetti) 的「煉獄靈魂禮拜堂」(Chapelle des Âmes-du-Purgatoire)，畫家以驚人的錯視畫技法繪製了牆壁與天花板上的壁畫。

克里尼昂古聖母教堂 Église Notre-Dame de Clignancourt 2 Place Jules Joffrin

距離蒙馬特不遠的克里尼昂古聖母教堂興建於 1859 至 1863 年間，由建築師保羅 - 尤金· 勒克 (Paul-Eugène Lequeux) 設計，為新羅曼式風格建築，教堂內的花窗玻璃全部是由夏特的洛林工坊 (Ateliers Lorin) 製作，後方的聖母禮拜堂，羅曼· 卡兹 (Romain Cazes) 的繪畫與艾米勒· 拉封 (Émile Laffon) 的彩繪非常迷人。 52

蒙馬特聖約翰教堂 Église Saint-Jean de Montmartre 21 Rue des Abbesses

巴黎第一座鋼筋混泥土的教堂，興建於 1894 至 1904 年間，建築師安納托· 德· 包杜 (Anatole de Baudot) 是 19 世紀主持巴黎聖母院修復工程的維奧萊 - 勒 - 杜克 (Eugène Viollet-le-Duc) 的學生，建築外觀以紅磚和陶瓷馬賽克裝飾，代表傳統與嶄新建材的嘗試，風格明顯受到新藝術運動的影響，來蒙馬特參觀聖心堂時，別忘記順道拜訪。

聖多米尼克教堂 Église Saint-Dominique 20 Rue de la Tombe Issoire

興建於第一是世界大戰前後的 1913 至 1921 年間，由建築師喬治· 高迪貝爾 (Georges Gaudibert) 設計，受到羅曼拜占庭式風格的啟發，也是屬於巴黎第一批以鋼筋混凝土建造的建築，處處可見裝飾藝術風格 (Art Deco) 的影響，充滿韻律感的線條饒富趣味，鵝黃色的粉刷更是有種柔和的美感，是研究裝飾藝術時期巴黎建築的經典案例之一。

聖神教堂 Église du Saint-Esprit 186 Avenue Daumesnil

建築師保羅· 圖爾農 (Paul Tournon) 設計，採用鋼筋混凝土建造的主體給人粗獷感受，但整體的形制卻又是典型的新羅曼式風格，高達 33 米的圓頂靈感來自伊斯坦堡的聖索菲亞大教堂，內部的馬賽克、壁畫、雕塑和花窗多半是出自名家之手，陽光灑落教堂室內，有一種難以言喻的聖潔魅力。

拉撒勒德聖母教堂 Église Notre-Dame-de-la-Salette 38 Rue de Cronstadt

外表非常低調隱密，供奉拉撒勒德聖母 (Notre-Dame-dela-Salette) 的教堂，據說 1846 年 9 月 19 日聖母在拉撒勒德村顯現，這是少數被天主教廷所認可的聖母顯靈事件，看似小型火山的教堂是巴黎現代主義教堂建築中頗具代表的一座，興建於 1963 至 1965 年間，由法國建築師 Henri Colboc 與 Jean Dionis du Séjour 設計。 53

時尚 DNA 奢華 2.0

PRADA 當代藝術

Text / 方紅

時尚總是無法滿足現狀，當然，奢華故事也不是只有紙醉金迷可以形容，Prada 右手挑戰傳統規範，左手跳脫創意邊界，以多重世界中多樣敘事方式，對當下、人性、生活大和美感提出反思，就像時尚本身一樣，捕捉剎那、反映時代情緒、呈現當代的氛圍與現實。

探索未來的浪漫主義

奢華，來自自然展演故事的真誠。是的，從進入秀場的那一刻，其實就己展開一場探索。醉心於當代藝術的義大利感動於藝術，發源於夢想的實踐，從每一場秀創意，布局和呈現都緊扣說故事的精采動人。

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回到這一季 PRADA 的故事；設計師 Miuccia Prada 女士描述著浪漫主義：秀場空間由 AMO 設計團隊在 Prada 基金會的多功能表演場地 Deposito 大廳，循著電影《阿達一族》、《洛基恐怖秀》精選配樂， PRADA 這一季瞄準浪漫主義：人類感官與粗糙危險生活之間的緊張關係遭，選擇不符合主流卻渴望展現真實自我的「科學怪人」為主軸，；一個被人拒絕，但同時也渴望有浪漫、希望和愛情。觀眾們沿著劇場四周數種建築形態入座，看台、新建成的舞台和樓廳層層圍繞，中間空出的矩形場地構成秀場。遠離人群，穿越深色磨砂玻璃和柔軟的尖狀泡沫建構的人造台景，喚起一種神秘而不可思議的氛圍，讓人不禁聯想起科幻電影中的場景。

SHOW 受到科幻電影啟發，所衍生出諷刺和庸俗的意象。 PRADA 再一次邀請插畫家 Jeanne Detallante 操刀設計具漫畫風格的印花及圖騰，如破碎的心、玫瑰、科學怪人、閃電等，浮誇的符號混合浪漫與漫畫元素，就像科學實驗中的切換，充滿童趣與科技感；嘗試透過時尚預告了閃著微光的未來主義。有趣的是，因為投身當代建築與歷史，尤其是建築所延伸出實用、商業和歷史含義的發想，深刻影響品牌風格。Prada 強化秀場空間呼應和設計主題，順勢拓展了時尚的視角。

又如 Prada 2019 男裝與女裝秀場空間座椅，由丹麥知名設計師 Verner Panton 所設計，可以說是對 VERPAN 於二十世紀六十年代為 PRADA 所打造專屬作品的重新詮釋，而這枚立方體充氣，輕盈透明的創意之「座」，果然也為這場秀帶來又好又叫座的口碑和宣傳效果。至於周邊時尚商機 PRADA 更是跟緊時潮，找來紐約知名設計師 Michael Rock 與 2×4 設計團隊合作推出蘊含高科技特質的配飾系列—Pradamalia，更是反應時潮的絕妙創意。

丹麥設計師Verner Panton獨家為Prada生產製作的Verner Panton充氣座椅，由100％可回收透明薄膜製成，售價: € 650

攜手紐約知名設計師Michael Rock與2×4設計團隊合作推出蘊含高科技特質的配飾系列—Pradamalia，這個迷你族群擁有PRADA品牌基因。

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PRADA RONG ZHAI

再續芳華上海榮宅 Prada「榮宅」修繕計畫可說是米蘭與上海兩座老城市的一場對話

長久以來，從各個藝術領域汲取靈感的 Prada，對文化遺產的長期關注，促成了對上海堪稱最高雅的花園老洋房之一「榮宅」修建行動，且再一次獲得全球對人類「文化財」重視和傳承的掌聲。 Prada 投身於世界各地投身於歷史文化遺產保護工作，並積累豐富經驗，包括修繕位於米蘭的 19 世紀古典購物穹廊伊曼紐爾二世長廊（Galleria Vittorio Emanuele II），以及被改造為藝術空間的威尼斯王后宮（Palazzo Ca' Corner della Regina）。

坐落於上海市中心，榮宅歷史可遠溯至 20 世紀初期，當時名門望族榮宗敬家族曾於此居住。2004 年，榮宅被列入靜安區文化遺產；2005 年，榮獲「上海市優秀歷史建築」的稱號。 Prada 於 2011 年攜手修繕專家建築師 Roberto Baciocchi 啟動宅邸史詩般的修繕工程，一磚一瓦極盡用心，極為考究地盡可能恢復舊樣的修繕，包括石膏裝飾、木質鑲板、彩色玻璃及類型多樣裝飾，力求恢復宅邸內飾外景的歷史原貌，以期與百年前榮宅最初建造時傳統一致。修繕過後的上海「榮宅」不但成為 Prada 在中國舉行活動的特殊地標，也得以體現引領奢華歷史重現不朽魅力的最高致意。

新世代出口

INTERNET M E M E 網路迷因溶解在高端時裝與裝置藝術中，雅俗同賞的 MEME 文化

從黑人問號，到美國總統川普假髮，再到熟悉不過的長輩問安圖，網路迷因 (Internet Meme) 隨科技與千禧後資訊爆炸，全面滲透進入當代生活。無論是嘲諷、獵奇、會心一笑，還是懷舊、幽默、世代出口，爆紅網路迷因，密藏在對話視窗裡快速轉傳，笑鬧彈跳的訊息貼圖中，遞嬗弗屆。

迷因，首見於英國演化生物學學者，Richard Dawkins 在其著作《自

魚貫走出，令人莞爾稱絕。而知名攝影師 David Lachapelle 伸展台下巧

私的基因》中。語源自希臘文模仿 (mimeme)，道金斯本欲定義文化傳

妙運鏡名作「末世之家 (The House at the End of the World)」，令超模

遞與散播使用單位，以生物遺傳訊息單位，基因 (gene) 一詞類比，縮

Heather Marks 身著該季華服，在天災肆虐家屋廢墟前佇立，以時裝向

短成為迷因。而其公認義涵為一個想法，行為或風格，在個體間模仿演

古典藝術致敬，宛若當代聖母。

繹，所形成之文化傳播過程。

置身當代，Viktor Horsting 與 Rolf Snoeren 也不錯過網路迷因與相

蓋天鋪地，從謠言、新聞、知識、觀念、習慣、習俗甚至口號、諺

關次文化，2008 秋冬成衣秀上，一幀幀灰色羊絨風衣胸前宛如宣言的

語、用語、用字、笑話，迷因形式無所不包。迷因存在於個體思想中，

立體字，從強烈吸睛的不 (NO)，到引人企盼的夢 (DREAM)，這兩位天

可自我繁衍，進而在相異個體知識領域內傳播。隨網路跨越實體界線，

才設計師，向年輕世代致敬，更貼合網路傳播脈絡。

訊息交流推播更加即時，迷因透過社群與搜索引擎往往能一觸即發，超越以往口耳相傳，光速般爆紅。

時至 2019 年春夏，VIKTOR & ROLF 巴黎高級訂製服 (Haute Couture) 伸展台上，別開生面以網路世代最熟悉的文字標語、貼圖，與

網路世代諸多次文化現象中，爆紅迷因來勢洶洶，且影響從普羅到

層層雪紡紗交錯，煉化唾手迷因為藝術永恆。開場飄逸長裙上斗大「別

藝術，且看歐陸到北美，網路迷因如何啟發諸多服裝設計師與藝術家，

拍好嗎？ (No photo please)」標語，嬉鬧嘲諷網路世代攝像打卡風潮，

抽絲剝繭解構網路世代下的文化傳遞。

也令秀場觀眾忍俊。

安特衛普，VIKTOR & ROLF, 2019 春夏季高級訂製服

轉進中場巨大禮服上，向 2008 年秋冬致敬的不 (NO)，再到最後一

以時尚藝術家 (Fashion Artist) 著稱的荷蘭雙人設計師 Viktor

襲黑色十九世紀中葉風格禮服上，微笑太陽貼圖外撼動人心的「祝願明

Horsting 與 Rolf Snoeren，向來擅長汲取藝術，構築絕塵於駭俗之上，

日 (I wish a better tomorrow)」。在熱烈掌聲中，十八位模特兒與設計

其創立於 2003 年時裝品牌 VIKTOR & ROLF 更融服裝與藝術交織輝

師謝幕，而鹿特丹博伊曼斯．范伯寧恩美術館（Museum Boijmans Van

映，廣受時人藏家與評論喜愛，且多次出展或典藏各大博物館。

Beuningen）更旋即聲明典藏「祝願明日」禮服，寫下當代時裝與當代

猶記 2005 秋冬時裝秀場上，模特兒頭飾巨型軟枕，身衾羽絨被衣，

藝術史上，屬於網路迷因的動人詩篇。

[ FASHION ] 洛杉磯，D.O.C

從街頭藝術出發，千禧年後以裝置藝術折射當代消費社會，與名人現象的美國藝術家 Jonathan Paul，備受藝壇矚目，也廣受時人喜愛。因其早年街頭畫作多署名 Desire, Obtain, Cherish，Jonathan Paul 也以縮寫 D.O.C 為號。從揶揄品牌符號的巨型藥丸 (Designer Drugs) 陳設，壓克力凝固即時網路對話荒謬 (It's Not Art until the Check Clears) 作品，到近期以網路迷因為題材，定名雲端噴氣 (Off-gassing from the CLOUD) 系列畫作，Jonathan Paul 幽默犀利直指當代社會，集體心智遭遇困境為何。透過萌人貓狗與懷舊點陣卡通素材，雲端噴氣系列畫作可人，但又隱佈迷離荒誕。「不論我的手法，或藝術形式為何，我期許能如同社會人類學者，如實紀錄並分析我們所屬的時代。在此之上，我自視為陳述者，述說你我可能熟悉的故事，但我並不希望以此評斷觀者受眾。」，談及迷因藝術創作，滿身刺青，型格卻斯文的 Jonathan Paul 闡述其靈感啟蒙，與意欲楬櫫同理網路世代，漂浮於虛擬雲端上，所屬社群文化現象。

米蘭 OFF-WHITE TM

主導過去數季潮流，衝撞九零世代時尚族群的 OFF-WHITE TM，本身就是一則網路迷因。建築與工程背景合兼，OFFWHITE TM 幕後推手與設計師，Virgil Abloh，自伊利諾工學院畢業後本應涉足建築。但與饒舌歌手，日後網路世代主祭 Kayne West 在羅馬相遇，徹底改變 Virgil Abloh。Kayne West 任命 Virgil Abloh 為其創意公司總監，並催生日後顛覆時裝與評論觀點的 OFF-WHITE TM。一件米白布衫或是一雙聯名球鞋，從數位支點與社群媒體出發，溝通網路世代被忽略的時尚產業，進而以光速推播感染， OFF-WHITE TM 自 2014 年成立以來，宛如流行音樂，廣受名人與潮人追捧，更讓傳統時尚產業瞠目結舌。如同 Kayne West 與其妻子 Kim Kardashian 一般，OFF-WHITE TM 品牌與設計，網路爆紅且快速產生演繹變化，完全體現網路迷因的特質。「我從建築出發去思考每一件事情，運用於設計，且導入品牌之上。我用 Louis Vuitton 和 Kering，這些高端奢侈集團無法理解的文化，進行溝通。我尊重下一世代的消費者，以及他們獨特的消費方式，與新的價值。」，而論及網路世代，Virgil Abloh 關注且試圖理解。「我對這全新世代的文化、藝術、與世界觀感到好奇，它正經劇變，或許會透過網路達到更民主的階段。」 59

全球 5 0 大最佳餐廳

Bon Appetit! Mes Amis 舌尖上的論戰比擬米其林指南的「全球 50 大最佳餐廳」，全球大江南北頂尖餐廳爭相競逐下，給了老饕最新指南，用舌尖探索世界；不同於以往，可以感受到嘗鮮的口味延伸到西班牙、中南美等各地菜色，實踐世界大同的美味的理想。

[ CUISINE ] Text / Geoff

Photo / courtesy of Mirazur、Noma、大班樓

對比米其林評選的神祕、不透明，獲選餐廳高不可攀甚至有些保守，（The World's 50 Best Restaurants）的遴選和投票顯得民主且開放許多，打從 2002 年開始，這項集合全球超過 1000 位美食專家透過組織性的稽核方式，在世界各地不斷物色出最具地區性代表的餐廳及料理，可以被視為既具親和力又不失精緻的美食指南。今年出爐名單在選擇菜系的廣泛度和入選對象顯然更為多元，除了融合法國、義大利和阿根廷料理精華的法國蔚藍海岸餐廳 Mirazur 奪冠外，西班牙和眾多拉丁美洲餐廳的排名都紛紛提升，引起關注；唯一遺珠之憾，便是亞洲餐廳，特別是中菜，寥寥可數，依舊落寞。

Top 1

山海入味蔚藍海岸 Mirazur 摘金的 Mirazur 自創立迄今的 13 年間，在阿根廷籍主廚 Mauro Colagreco 的主持和帶領下，以芒通（Menton）當地的絕色景觀、自家三種不同類型的果菜園所種植的蔬果、出色的料理手法，獲得美食家的壓倒性讚賞，成為蔚藍海岸必訪的用餐地點。Mirazur 從 2009 年的第 35 名躍升今年冠軍，關鍵在於美食家們對 Mauro Colagreco 整體烹調概念和選料的高度推祟，以海、山和經營的蔬果園為佳餚的創作靈感，當然包括芒通當地特產的柑橘類水果，讓品嘗過的人醉心不已。位居奢華度假觀光區的這間頂尖餐廳 Mirazur；它同時也獲得米其林指南三星級評鑑。蔬果園的拓展、沉靜用餐體驗的氣氛；天然素材烹飪或烘焙的各式餐點，塑造出 Mirazur 與眾不同的感官挑逗性。

Mauro Colagreco 餐廳主體是阿里斯蒂德白里安大街（Avenue Aristide Briand）上的 1950 年代建築，透過偌大落地窗，數十公尺外的廣闊海景盡收眼底。餐飲風味很懂得在地取材，發揮「黃金海岸酒店」（La Côte d'Or）累積的廚藝，端出自然且無負擔的菜色。招牌菜鹽烤田園甜菜根佐魚子醬透過鹽漬保留了甜菜根的天然風味，搭配鱘龍魚子奶油醬，將山海的珍味調和一氣。將法式料理的拿手戲，鴿子肉列入主菜，鴿胸肉佐野草莓醬昇華出細嫩且層次豐富的口感，是 Mirazur 招牌菜之一。杏仁奶泡結合橘子冰糕則是最受歡迎的甜點，Colagreco 將蔚藍海岸地區最著名的鮮橘製作糕點，滑順奶泡一起在齒頰間融化，伴隨著地中海吹來的微風，光是想像便令人神往。 61

Noma 強勢回歸

[ CUISINE ]

Top 2 過去從 2010 到 2014 年間共四次打入世界最佳餐廳行列的 Noma，到了 2017 年曾短暫歇業，主廚 René Redzepi 將餐廳從哥本哈根的克里斯蒂安（Christianshavn）遷徙至樂福沙勒恩島（ Refshalevej Island）上，重新整建出全新的 Noma 2.0 並於 2018 年 2 月開張，短短一年的時間過後便在 2019 世界 50 大中取得第二名的榮耀。 Noma 一直是丹麥的指標性餐廳，這裡最吸引人的地方，便是克里斯蒂安發展出的獨特烹調手法；新北歐料理（New Nordic Cuisine）以前瞻的概念重塑傳統，Noma 發揚光大，並針對餐廳裡的菜單進行調整，整理成三款初夏海鮮、秋季蔬菜、以及冬季森林野味，內部空間則由斯堪地那維亞當紅設計師 David Thulstrup 操刀，他將整體規劃成像一座小村莊一樣，呈現出相當自然、舒適的用餐環境，超越當代時尚潮流的設計元素，以及永續傢俱和裝潢材料的普遍運用。

Naturally Unleashed Fire 西班牙燒味誘惑將神所創造的火苗轉化為對美食的藝術表現，這是西班牙巴斯克地區眾多燒烤名店的特色，特別是 Asador Etxebarri 餐廳，透過通風木爐窯烤的設計，一點一燃烤製出不同於一般烤物的極品。

Top 3

[ CUISINE ]

Text / Geoff Lai

Photo / Courtesy of Asador Etxebarri

現代烹調概念最吸引人的地方，往往在於如何將天然的食材以最簡單的方式轉化為舌尖交響樂，Asador Etxebarri 便是將燒烤技術玩得如此出神入化的箇中翹楚，原木燻香，芬馥繞樑，火的藝術在主廚 Victor Arguinzoniz 的手中，多年來不曾間斷地以一道道色味俱佳的擺盤，為這家西班牙餐廳打響 Fine Dining 領域的獨家招牌。

Asador Etxebarri和Victor Arguinzoniz在當地名望極高， Arguinzoniz甚至有著接近國寶級食神的極高讚譽。 OSK06134：通風木爐窯烤設備依照不同食材巧妙調整出各自不同的精確溫度，是Victor Arguinzoniz做出美味的秘訣。

Asador Etxebarri 處於巴斯克地區，在毗鄰法國，以傳統柴燒方式料理食材的頂尖餐廳為數不少，Asador Etxebarri 之所以成為所有美食家和同行朝聖，最大的特色就在於它通風木爐窯烤設計，不同於其他燒烤餐廳，結合鮮美的當地山產和水產，以煙燻及獨特的製作方式昇華出意想不到的美味：加入濃郁原產奶油攪拌的天然山羊奶，鮮度頂尖的魚蝦，西班牙 Galicia 省的乳牛肉，食材各自訴說著滋味渾厚的低調脂香或甘甜蔬果香氣的樸質原味；列舉招牌菜，精選薩拉曼卡豬肉的西班牙臘腸絕對是開胃主選，燒烤時的臘腸伴隨著西班牙辣椒乾的香味一起調和，入口滿是豐富味覺層次；火山鹽山羊奶奶油則是西班牙傳統酪農業的精華再現，撒上火山鹽的奶油可塗上精緻麵包，餐前食用恰到好處。艷紅的帕拉莫斯蝦是到此必點的主廚拿手好戲，Victor Arguinzoniz 當天取得新鮮大蝦後的做法，見置架高的烤網慢烤，僅至三分熟，讓大蝦的海味和肉質甜味令人入口，欲罷不能，完全是當地食材結合燒烤藝術的經典美味之一。今年衝到「世界 50 大最佳餐廳」第三名的 Asador Etxebarri 同時也是米其林指南一星。半路出家的廚師 Arguinzoniz，創立餐廳的特色便是重現小時候耳濡目染的農村燒烤烹調。他對料理的信念和對家鄉的愛，使得在當地美食圈的地位幾乎等同於西班牙食神 Ferran Adrià，也可以想像其在歐美地區受歡迎的程度。說到這裡，你恐怕也想躍躍欲試了吧！但必須透過官方網站 e-mail 訂位，並且靜待一到三個月的時間，即便定到位，從最近的維多利亞機場還得要花費台幣四、五千元以上，奔往 26 公里以外，對垂涎世界一級燒烤的祕密是要付出一點兒代價的。 65

Chill Out With Food 與蔬果共舞

飲食的精采，有時不見得是火侯十足的慷慨激昂，或五顏六色的豐盛擺盤，沉靜、簡單、緊緻的視覺和分量，反而更能留下深刻印象，北歐創意菜特別如此。哥本哈根近期內不論在米其林指南或世界前 50 大餐廳評選，皆十分風光地掙足了面子，因為丹麥除了 NOMA 外，還有另一家風格十分低調的創意料理餐廳「Geranium」；這家米其林三星餐廳，從丹麥飲食文化精髓昇華的頂尖高手，主廚 Rasmus Kofoed 如同許多丹麥風味，喜愛挑逗各類味覺，更愛發揮藝術品味，刷亮你的五感。Geranium 裡外是一個潔淨、素雅卻又不脫北歐設計精神的明亮空間，各式餐點則以氣味輔以符合主題的對應色彩，讓所有曾在這裡嘗新的美食家留下意想不到的驚豔。

以米其林三星榮耀為招牌的 Geranium，

進入世界前 50 大餐廳前五名，不令人意外。作為丹麥美食代表的高級餐館，以新鮮蔬果讓饕客盡享如藝術般的野宴，令人大飽感官之美。 Text / Geoff Lai

Photo / Courtesy of Geranium

Top 5 位於市區彼赫亨瑞克林大街旁的八樓，從這裡的落地窗向外可將哥本哈根的街景盡收眼底，無論坐在哪個角落，透過木造吧檯邊、牆角或燈飾下許多原木擺設或傢俱，配上掛吊著形形色色的盆栽，讓你花個半响凝視著櫻紅的花朵，靜靜地等待第一道菜端上桌。 Geranium 的廚房是開放式的，目睹近似廚藝教室的烹飪平台，欣賞像雕塑一樣的主廚和工作人員，專注而熟練地精心製作每道菜餚。充滿自然氣味和生命力的料理台，送達桌上的美食像藝術品。菜單上的蛋黃及豬油配黑穗醋栗葉片湯讓你滿頭霧水，但當餐盤和湯壺在你面前，被菜葉融合鮮美蛋黃的味道吸引住；風乾後烤製的朝鮮薊，以秋葉般的形態佐麥芽醋和核桃油，蔬食主義的全新料理概念和藝術擺盤的亮點。儘管 Geranium 多半提供是蔬食料理，但還是有少數肉類供選擇，如鰈魚佐香菜和根芹、蟄蝦淋上焦化奶油和蘋果原汁，不拘葷素，以想像不到的手法烹調擺盤；講究新鮮時令蔬菜和新鮮魚蝦的主廚 Rasmus Kofoed，堅持搭配侍酒師精心挑選的酒類，從夏令、冬至到春暖花開，一年四季，Geranium 給你不一樣的丹麥感受，無愧丹麥唯一三星餐廳的金字招牌。

[ CUISINE ]

美味入榜西班牙｜泰國｜南美｜香港

西班牙餐廳是今年 50 大名單內令人激賞的另一項驚奇。被譽為擁有美味神秘力量的西班牙 Asador Etxebarri 燒烤餐廳獲得第三名殊榮，與 Mirazur 相同的是，Asador Etxebarri 因為善用當地食材並追求最自然烹調方式的手法而獲得評審青睞。將表面烤得焦脆的加利西亞肋眼牛排是老饕們到這裡必吃的主菜，炭火冰淇淋則是利用碳烤技術將甜點美味發揮到極致。今年真正為亞洲餐廳揚眉吐氣的不是日本餐廳，而是位在泰國曼谷的 Gaggan，這家提供現代印度料理的餐廳從 2014 年開始到 2018 年間，一直都是「亞洲 50 大最佳餐廳」

香港

班「大

樓」

評選的第一名，其「分子料理」菜單中如馬鈴薯泥炸成的「鳥巢」或冰凍香菜汁等，靠的是主廚 Gaggan Anand 的想像和創意，反而不像前幾名餐廳以天然和簡約取勝。拉丁美洲餐廳在這次評比中，也獲得舉足輕重的地位，南美利馬的 Central 以當季秘魯食材所烹調和搭配的菜色，讓評審食指大動，攻佔了到了第六名。香港「大班樓」是首度入選的中菜餐廳。這家以頂尖粵菜料理聞名的餐館向來選用香港新界本地雞、南中國海活魚活蝦、元朗和上水當地有機瓜菜，並以蝦油、辣油、雞油、香茅油提味且以慢火熬成，盡量讓品嚐者嚐出食材原味和清鮮烹飪的口感。雞油花雕蒸花蟹配陳村粉和蟹肉花蝦糯米飯是大班樓最著名的招牌菜，此外更值得一提的是，大班樓不像大家所見的一般高檔粵菜餐廳，餐牌上沒有魚翅、海參、燕窩這類餐點，因為他們認為其他菜式更加有趣，更能顯出大班樓創意，同時也更加環保，這也是他們一向標榜的料理精髓。

THE STINGEL CHARM 斯丁格爾的魅力 Text / 嚴仲唐 Jason Chung Tang Yen

在當今全球經濟大環境整體走向不佳時，頂級的藝術市場似乎不太受到現實的影響，反而更加蓬勃。今年瑞士巴塞爾藝術展售整體的成績沒有以往亮眼創新紀錄，作品價格於頂尖的巴塞爾這個藝術交易中心而言，相較稍微保守，八位數美金的作品（李希特）在會場也順利成交，大多數的專業人士感受到成交速度沒有前幾年來的快，以往開幕當天到第二天或許作品銷售一空，但對某些資深展商而言今年花了較長的時間，最終還是順利銷售完畢。以品質上來說，這次無論是美術館展覽或是會展上毫不遜色，不僅有羅斯科的高單價精品出現，也有傑出年青藝術家作品，巴塞爾美術館更是推出難得的現代立體派大師聯展，梳理出該流派的演變與成長。美國當代大師斯魯道夫．斯丁格爾（Rudolf Stingel）近年來頻創市場價格新高，今年夏天巴塞爾藝術週國際舞台自然少不了他的

藝術家Artist：Rudolf Stingel 魯道夫．斯丁格爾美術館Museum：Fondation Beyeler 貝耶樂基金會城市City：Basel, Switzerland 瑞士巴塞爾展期Dates：May 26 – October 6, 2019

曝光，就在由建築大腕皮亞諾（Renzo Piano）所操刀設計、美輪美奐的貝耶樂基金會（Fondation Beyeler），這個精緻重要的美術館每年會於暑假強檔呈現牽動藝術市場神經的指標大展，並且輪流替換當代與現代，今年則是特別將檔期與畢卡索的藍色與粉紅時期重要回顧展同時展出。當然，這也跟今年轟動國際藝術圈的消息，那就是高古軒畫廊（Gagosian Gallery）於巴塞爾設立新畫廊空間有很大的關聯。

[ AGENDA ]

RUDOLF STINGEL, UNTITLED, 2018 Oil on canvas 241.3 x 589.3 cm; 241.3 x 589.3 cm ; in 3 parts, each: 241.3 x 193 cm © Rudolf Stingel Photo: John Lehr RUDOLF STINGEL, UNTITLED, 2018 Oil and enamel on canvas 241.3 x 589.3 cm 3 parts, each: 241.3 x 193 cm Collection of He Juxing © Rudolf Stingel Photo: John Lehr

寫實的魅力與市場實力

斯丁格爾除了於高古軒畫廊舉辦過展覽之外，也與英國知名藝壇極具影響力的薩迪．科爾斯畫廊（Sadie Coles）合作，在巴塞爾藝術展時，藏家可以在美術館看完展覽之後到展位上搶購現場限量的幾件精品。歐美市場上寫實作品的寶座之一可說是歸於斯丁格爾，他的個人最高拍賣紀錄就是一件無題的油畫肖像，於 2017 年紐約拍賣以 920 萬美金落槌，而排名第三則是一件無題的風景作品，描繪靠近義大利莫拉諾的提洛爾阿爾卑斯山脈（Tyrolean Alps），於倫敦拍賣以 400 萬英鎊落槌。證明他的創作除了強烈的概念性之外，寫實技法也被市場重視。從 20 世紀 80 年代末開始，斯丁格爾是他那一代的藝術家擴展繪畫的概念之先鋒，他通過不同的藝術策略，材料和形狀的相互作用探索了其可能性和媒體特定的限制，是技法與概念兩者兼具的實力派當代藝術大師。

On the verge of uncertainty and instability of the global economics stage, the tip of the art market seems to be undisturbed by reality but reacted with unexpected growth. The overall sales result was not as shocking nor record breaking at Art Basel in Switzerland as the past editions. For the highend trade center that is Basel, it was slightly conservative, a work by Richter was sold for 8 figures in USD, though many experts in the field felt the speed of the deals was rather lagged compared to previous editions, instead of selling out on the first day, it took a bit longer for all the works to be sold for the more senior mega galleries. In terms of quality, it remained unaffected at museums all over the city and at the convention center, notably an eye-catching Rothko painting, among outstanding works by emerging artists, also, the Cubism modern masters group show at the Kunstmuseum was a rare opportunity to have a glimpse of the development of the movement. The contemporary American master Rudolf Stingel has made new record high prices over the years, his exposure was inevitable this summer at the Fondation Beyeler designed by the award winning architect Renzo Piano, this exquisite and pivotal institution puts on anuually market changing exhibitions during the Art Basel week interchanging between contemporary and modern each year, this year, the exhibition of Stingel conincides with Picasso's Blue and Rose periods retrospective. Certainly, this may have very well have to do with the fact that Gagosian Gallery opening a new location in the city of Basel, a news that shook up the international art scene.

RUDOLF STINGEL, UNTITLED (AFTER SAM), 2006 Oil on canvas 335.3 x 457.2 cm ÂŠ Rudolf Stingel Photo: Ellen Page Wilson RUDOLF STINGEL, UNTITLED, 2013 Oil on canvas 127 x 127 cm ÂŠ Rudolf Stingel Photo: Christopher Burke Studio

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RUDOLF STINGEL, UNTITLED, 2014 Electroformed copper, plated nickel, stainless steel 240 x 1200 x 4 cm ÂŠ Rudolf Stingel Photo: Alessandro Zambianchi

The Charm of Representational Art and Its Market

Besides Gagosian, Stingel also works with the influential British Gallerist Sadie Coles, during Art Basel, collectors can race their steps to the booth for limited number of his masterpieces after strolling around the exhibition at the museum. One of the thrones for representational paintings definitely belongs to Stingel, his highest personal auction records feature an untitled portrait that was sold at auction in New York for over 9.2 million USD, and an untitled landscape featuring the view of the Tyrolean Alps near the Italian town of Merano, which hammered in London for 4 million GBP. This proves his technique of painting is RUDOLF STINGEL, UNTITLED, 2012 Oil and enamel on canvas 300 x 242 cm ÂŠ Rudolf Stingel Photo: Alessandro Zambianchi

valued in the market besides his solid conceptual works. From the 20th century during the end of th 1980s, Stingel was a pioneer of his generation, through a combination of various artistic strategies, materials and shapes, he explored the possibilities and limitations of different mediums, a contemporary master accomplished with both concepts and skills.