羅芙奧季刊第32期 Ravenel Quarterly No. 32 by Ravenel International Art Group

精采時刻雋永人生

馬丁內斯的畢卡索式混亂爆炸 MESSY EXPLOSIONS OF PICASSOS BY EDDIE MARTINEZ

No. 32 Autumn 2020

CONTENTS No.32 ｜ Autumn 2020 ｜ https://ravenel.com

THE ARTIST

疫情之下的藝術風靡云蒸，中西現代經典匯聚 The Dynamic of The Art World In The Course of Pandemic, The Confluence of The Asian And Western Classics 14

THE ARTIST

徜徉天地的輕騎－安德烈・布拉吉利 The Cavalier who Roams Heaven and Earth－André Brasilier 18

ART & INVESTMENT

艾迪．馬丁內斯的混亂爆炸新美學 Messy Explosions－The New Aesthetics of Eddie Martinez 30

WINE

不走尋常路－葡萄酒無極限 The Road Untaken How "Far" Can Wine Go? 36

FINE CHINESE PAINTINGS

漂泊遊子的浪筆濃情－沈耀初 The Heart of A Vagabond：The Works of Shen Yao-Tsu 10

LUXURY

彩鑽投資正當時

Discover The New Merit in Colored Diamonds

CUISINE

熔融折射，亞洲奢旅新風潮

Fusion Prismed Through Décor

LIVE

古痕新意 • 建築翻身

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 / 陳昱良 Iris Chen 發行所 Published / 羅芙奧股份有限公司 Ravenel Ltd. 地址 Address / 106485 台北市敦化南路二段 76 號 18 樓 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 電子信箱 email / info@ravenel.com

建築 x 時尚 x 藝術

SPECIAL REPORT

FENDI 的街頭藝術 DNA 60

FASHION

當湘雲紗和美術館相遇時尚有夢

LIFE

Agnès B 的藝術小宇宙 68

AGENDA

字外有字在池上遇見臺靜農 Characters Beyond Characters－ Meeting Tai Jing-Nong in Chishang Township

羅芙奧藝術集團台北辦公室台北市敦化南路二段 76 號 18 樓電話 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 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 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

艾迪‧馬丁內斯《無題》2015 油彩壓克力絹印墨瓷釉噴漆畫布 182.8 x 274.3 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」 Eddie Martinez "Untitled", 2015 Oil, acrylic, silkscreen, ink, enamel and spray paint on canvas, 182.8 x 274.3 cm Ravenel Autumn Auction 2020 Select: Modern & Contemporary Art

[ CHIEF EDITOR'S NOTE ]

Fall Harvest! 秋天。藝術收藏的季節時序入秋，紛擾的 2020 庚子年過了四分之三。在最後一季，年初以來 COVID-19 疫情帶來的政經動盪局勢，不再令人驚慌失措、徬徨無助。隨著各國疫苗研究與注重公衛議題，祈願世界恢復平靜與生機。藝術市場雖因疫情推遲了拍賣時間，取消多數展覽，然而在全球資金寬裕的助長下成績斐然，尤其千禧世代年輕收藏家新血的加入，他們尤其熟悉線上拍賣交易方式，使得藝術市場活力十足。《Ravenel》季刊第 32 期 2020 年秋季號，為讀者帶來濃濃的藝術氣息。從時尚與藝術的觀點，介紹了威尼斯的古建築翻新，Rem Koohaas 雷姆．庫哈斯的 Fondazion Prada 普拉達基金會、安藤忠雄的海關現代藝術館，為經典的建築融入絕妙的創新元素。台東池上穀倉藝術館的臺靜農書畫裝置展覽，Agnès B 的藝術收藏，精采有型。美國藝術家 Eddie

Martinez 艾迪．馬丁內斯，畢卡索式的混亂爆炸新美學，在近期國際藝

術市場搶盡風頭。法國現代藝術家 André Brasilier 安德烈．布拉吉利筆

CMY

下唯美的輕騎風景圖繪，受到普遍藏家的喜愛。還有回顧上一季沈耀初與其他中西名家在拍場出色表現，樂觀展望下半年的市場趨勢。葡萄酒的裝瓶、陳放空間，以中國五行思考，與海底世界的神秘想像，帶來無極限的品飲創意。而光彩奪目的彩鑽投資蔚為風行，美泰柬埔寨、暹羅秀雅未來的渡假選擇，本期持續追蹤。豐富的藝術投資與生活精品時尚新知，讓我們持續為您奉上。

路易．甘《橘子樹》1990 銅 6/12 43 x 20 x 20 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」 Louis Cane, Oranger, 1990, bronze, ed. 6/12, 43 x 20 x 20cm Ravenel Autumn Auction 2020－Select: Modern & Contemporary Art

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the dynamic of the art world in the course of pandemic, the confluence of the asian and western classics 疫情之下的藝術風靡云蒸，中西現代經典匯聚

[ THE ARTIST ]

2020 年的上半年充滿了挑戰，疫情的關係也改變了人們的生活習慣與消費方式，百花齊放的時代輪轉之下也引領了新一代的收藏方向。2020 春拍「亞洲現代與當代藝術」專場中匯聚東西方現代藝術家經典之作圓滿收槌，極具指標性。奈良美智無疑是近年來於亞洲藝術市場當中最炙手可熱的當代藝術家，是次拍賣奈良美智大型立體雕塑《Your Puppy》為備受矚目的人氣拍品以 6,416 萬新臺幣成交，亦登上藝術家雕塑作品前 3 大紀錄。「波點女王」草間彌生，南瓜系列作品更為經典，其中領銜拍品創作於 1991 年指標性壓克力彩作品《南瓜 (B)》就以 NT$5,184 萬易手。草間彌生的一生充滿傳奇性，「南瓜」更為草間彌生經典主題之一，更以細膩的筆觸，把密密麻麻的黑點整齊地繪畫在南瓜上，排成列狀的大小波點形成了細緻的條紋，賦予南瓜極大的感染力以及生命力。而華人經典方面有光燦百年的抽象藝術大師朱德群 1978 年之作《5.5.1978》，充滿動感的佈局，畫面肌理得體，準確優美，極富表現力。畫面中如韻律跳躍、節奏雄健，似交響樂般的點塊表現，無不既融匯了中國草書俐落瀟灑的用筆，又呈現了西方韻律、節奏的視覺美感，以 4,960 萬元成交入袋新藏。西洋經典大師貝爾納．畢費經典主題之作《鬥牛士》以博物館級作品敲出 1,800 萬成交，身著鑲嵌金的華麗服飾，頭頂貴族黑帽，冷色調的背景與天藍服裝更襯出鑲金之高貴之氣。因全身比例之鬥牛士題材罕見，進而擠身進入藝術家前十大作品排行，並列入畢費鬥牛士主題拍賣前二大紀錄。

新銳藝術家展露頭角，市場熱度持續看俏日本藝術家於近年來亞洲市場中高潮迭起，身為村上隆的首席弟子，目前炙手可熱的「御宅族」藝術家 Mr. ( 岩本正勝 ) 《川流淙淙》則拍出超出高預估價格之成交價 804 萬佳績。而另一位近年來市場上新寵，素人藝術家六角彩子靠著她與生俱來的靈敏觀察力及細膩的情感，她的繪畫技巧上已自成一派。六角彩子的高人氣引領風潮壓克力彩畫布《無題》亦表現非凡，拍出超出高預估價格之 720 萬元成交佳績，創下藝術家個人紀錄的第二高價，並登上藝術家號數單價之冠。熱門當代藝術範疇中，由目前炙手可熱的新一代塗鴉藝術家 Mr. Doodle 壓克力原作《放克 DJ》以及《餓犬》引領高潮出現激烈競拍叫價熱潮出價不歇，以 5 萬元起拍，最終以超越高預估價 3 倍之價格 36 萬元及 40.8 萬元售出。挾帶著高人氣的 Mr. Doodle《黃色太陽花；藍色機器人；橘色魚；粉紅鳥 ( 四件一組 )》版畫帶動下半場第二波高潮，估價僅 NT$9 萬 -18 萬，經過近 20 逾口激烈競拍更拍出成交價 120 萬高於低預估 7 倍之高價，以黑馬之姿驚豔全場。

台灣藝術家：時代下的指標性作品台灣藝術板塊方面表現亮眼，李真《清風雲露》表現優異，以超過預估價之近兩倍價格 672 萬元成交。台灣藝術家莊喆《春光乍現》經過許多人喊價，拍出成交價 288 萬。此次所特別推出台灣前輩藝術家王攀元一系列水彩及油畫佳作仍維持著其在 2019 下半年亞洲市場熱度，表現亮眼，拍出極高成交率。顯示此次春拍，買家對於估價平實的精彩拍品抱持十足的投標信心。近年來因收藏多樣化、藏家世代年輕化，愈多的精選小品及新晉藝術家受到各階層的買家青睞，收藏標的改變已成風尚。另不可忽視的經典名家的作品，在合理的估價範圍內，也同樣是收藏或是投資市場的常勝軍。隨著今年羅芙奧台北 2020 春季拍賣會的圓滿落幕，台灣藝術市場亦在嚴峻疫情影響中穩定中發展，開啟了疫情時代的新局面，亦讓人期待接下來即將來臨地羅芙奧 2020 秋季拍賣會。 ◀ 奈良美智《Your Puppy》2016 強化玻璃纖維雕塑 271.3（長）x 140.3（寬）x 188.3（高）cm 羅芙奧台北2020春拍，成交價TWD 64,160,000 Yoshitomo NARA, Your Puppy, 2016, FRP, 271.3(L) x 140.3(W) x 188.3(H) cm Ravenel Spring Auction 2020 Taipei, sold for USD 2,170,501

Needless to say the first half of 2020 is full of challenges, the pandemic undoubtedly changes the daily habits and consumption patterns of the mankind, in this unique era has also shed the light on hinting the direction for the new generation of collectors. In the 2020 Spring Sale of "Modern and Contemporary Asian Art" presented bth the Asian and Western classics, their record breaking results are totally indicative. Yoshitomo Nara sure is the most popular contemporary artist in the Asian art market in recent years, in this Spring Sale presented his well received large scale three-dimensional sculpture Your Puppy, the selling price of USD 2,170,501 marked in the top three records in his works of sculpture. While another Japanese master "Queen of Polka Dots" Yayoi Kusama, her classic yellow pumpkin vertical painting Pumpkin (B) started the bidding at NT$38 million and sold at USD 1,753,721. This iconic acrylic on canvas was created in 1991, looking back her whole life is full of legends, "Pumpkin" definitely is one of her classic themes. With delicate brushstrokes, dense and numerous black dots are neatly painted on the pumpkin, they are arranged in rows to form stripes, this exquisite pattern entrusts the pumpkin with great inspiration and vitality. While in the Chinese classics, our Spring Sale has the century old abstract art master Chu Teh-chun's masterpiece 5 Mai 1978. The layout is filled with dynamic, the texture of the painting is decent, accurate while beautiful, and extremely expressive. The painting demonstrates vigorous leaps and bouncing as rhythms, the symphony-like strokes blend perfectly with the neat yet simultaneously unrestrained brushwork of Chinese cursive script, but also illustrating the visual beauty of Western swing and rhythm. It was sold for USD 1,677,943. Speaking of the Western classics in our Spring Sale's, it goes without saying is Bernard Buffet's museum graded Toréro Debout, this classic-themed work was sold for USD 608,931 The toreador was dressed in splendid gold-inlaid costumes, wearing an aristocratic black hat, the background filled with cool colors distinctly contrasted with the outfit in sky blue, eventually boosted the spirit of nobility. Due to the extreme rareness in depicting the full body of the toreador, it ranks among the top ten works of the artist and even is marked on the top two auction records in his toreador-themed paintings.

▶ 六角彩子《無題》2014 壓克力畫布 80 x 175.5 cm 羅芙奧台北2020春拍，成交價TWD 7,200,000 Ayako ROKKAKU, Untitled, 2014, Acrylic on canvas, 80 x 175.5 cm Ravenel Spring Auction 2020 Taipei, sold for USD 243,572

[ THE ARTIST ]

◀ 貝爾納．畢費《鬥牛士》1961 油彩畫布 100 x 81 cm 羅芙奧台北2020春拍，成交價TWD 18,000,000 Bernard BUFFET, Toréro Debout, 1961, Oil on canvas, 100 x 81 cm Ravenel Spring Auction 2020 Taipei, sold for USD 608,931

THE EMERGENCE OF CUTTING-EDGE ARTISTS Japanese artists have experienced climax in the Asian market in recent

THE WORKS OF THE TAIWANESE ARTISTS ARE UTTERLY INDICATIVE

years, being the principal disciple of Takashi Murakami, the work of this

The overall of Taiwanese art performed well, in which Li Chen's

highly sought-after "Otaku" artist Mr. (Masakatsu Iwamoto), Murmuring

bronze sculpture Soothing Breezes Floating Clouds performed

Stream, has exceeded its high estimate and sold at USD 271,989. Another

extraordinarily and sold for USD 227,334, nearly twice the low estimate.

new favorite in the market recently is the amateur artist Ayako Rokkaku,

Another Taiwanese artist Chuang Che, the selling price of his painting The

with her innate keen observation and sensitive emotions, her evolving

Beginning of Spring is USD 97,429 after various collectors place their bids.

painting skills have distinctively become a school of her own. Her highly

In this sale particularly presented a series of watercolor and oil paintings

acclaimed acrylic on canvas Untitled performed exceptionally in our

by Taiwanese predecessor artist Wang Pan-youn, his works still managed

Spring Sale, the selling price of USD 243,572 surpassed its high estimate,

to maintain their popularity in the Asian market recorded in the second half

setting the second highest price in the artist's record.

of 2019, their outstanding performances result in high sell-through rate.

Among the category of contemporary art, the works of the new generation graffiti artist Mr. Doodle are currently in great demand, his

Nevertheless this proves with reasonable estimation for unparalleled lots, the buyers will still bid with full confidence.

acrylic on canvas DJ Funck and Hungry Dog led the climax of competitive

In recent years, due to the diversification of collections and the

bidding. They started the bidding at USD 1,700 and reached the selling

generation of collectors getting younger, more and more selected art pieces

price of USD 12,179 and USD 13,802 respectively, which tripled the high

and emerging artists have been favored by all different kinds of buyers, and

estimation. His "Yellow Flower; Blue Robot; Orange Fish; Pink Bird (a

the change among the collection has indeed become a trend. Yet the classic

set of four)" screenprints initiated the second wave of pinnacle in the later

works of traditional masters still worthy to capture our attention, within

half of the sale, the price is estimated between USD 3,000-6,000. With

a fair valuation range, they sure rewarded with return in the collection

more than twenty fiercely biddings, finally sold at USD 40,595, which is

or investment market. With the successful conclusion of Ravenel Spring

seven times higher than the low estimate, absolutely stunning the whole

Auctions 2020, the art market in Taiwan has also developed steadily under

floor of audience.

the severe influence of the pandemic, creating a new situation in this era and also makes us look forward to the next Ravenel 2020 Autumn Auction.

The Cavalier who Roams Heaven and Earth － André Brasilier 徜徉天地的輕騎－安德烈・布拉吉利 Text / 陳昱良 Iris Chen

Photo / Ravenel International Art Group

[ THE ARTIST ]

「我追尋情感與造型結構的和諧平衡」－安德烈・布拉吉利 2008 年，他於鄰近法國里摩日的聖・布萊茲教堂（Place Saint-Blaise）耗費三年時光完成室內裝飾壁畫。法國雪儂梭古堡被喻為「女人的城堡」，他更是曾經分別於 1980 年、2010 年，於此地舉行過兩次個人展覽。布拉吉利習慣紙筆不離身，南法莊園內分佈著不同畫室，當窗外景色隨四季更迭，他用畫筆留下時間與記憶。對繪畫的獨特見解，是作者能將抽象情感視覺化，平移分享給觀看者。他擅長詮釋「風景」，希望即使未曾經歷相同時空，也能用作品觸動共鳴。簡化外在造形，留給意識漫遊在畫中廣闊天地。走進他的畫室，牆上掛著各地旅行的紀念品，足見畫家旅行經驗之豐法國藝術家安德烈・布拉吉利（André Brasilier, b.

碩。畫家視「駿馬」為自然造物「神性」的象徵；相較馬術他更擅長以畫筆

1929）一幅《冬季騎行》油畫近作，2019 年 2 月在倫敦拍賣，

捕捉馬群與騎士英姿。馬群減去龐大量感，留下神韻的靈巧和敏捷，點綴在

以預估價格七萬英鎊，經多方買家競標，以超過高預估價數倍，三十二萬英鎊的金額，刷新藝術家個人紀錄。此紀錄不僅成功跨越四十萬美金大關，更是肯定藝術家在全球市場的突破性發展。布拉吉利 1929 年出生於法國中部索米爾（Saumur），與畢費、草間彌生、安迪沃荷屬於同一世代。其家學淵源，雙親都是畫家，出身地方望族。鄉間大宅與自然風光，深刻布拉吉利的記憶與創作意識。二次世界大戰結束，隨家族移居巴黎，進入巴黎國立高等美術學院，師承畫家莫里斯 • 布里昂松（Maurice Brianchon）「詩意寫實 La Réalité Poétique」；更因傾慕高更和野獸派三傑：馬蒂斯、德朗、烏拉曼克，和古典大師德拉克洛瓦（Eugène Delacroix）的風采，布拉吉利少年時期展現的藝術語言，色彩濃烈充滿生命力與盛放的熱情。 1953 年獲頒歷史悠久羅馬大獎（Prix de Rome），此殊榮自法王路易十四創立，每年甄選法國頂尖的藝術院生，提供獎學金遊歷歐洲，培植廣闊視野與豐厚學養。遊學義大利期間，他遇見生命摯愛：香黛兒（Chantal）。倆人不僅高挑外型相襯，審美眼光與超然品味更是一致。跨越半世紀不斷，筆下優雅的仕女畫，彷彿情書傾訴，表達用情至深的愛意。從 1960 年至今幾乎連年展覽，布拉吉利孜孜不倦，每日提筆創作。畫架前站著修長背影，隨藝術家動作，筆刷摩娑布面，木地板吱嘎應和；色彩化作音符，筆觸在畫布彈奏著和諧與詩意。盛名傳至遠東，1974 年他受邀首訪日本展覽，受東方美學之薰陶，藝術家無論構圖、筆觸都飽含東方美學哲思。簡約大面積色彩，區隔平面化構圖，時如雲彩霞光之瑰麗，彼時又似黃沙滾滾，海天一色，讓觀者印象深刻。2005 年受館長米凱埃・皮歐洛斯基（Mikhaïl Piotrovski）邀請，於世界四大博物館之一：俄羅斯冬宮艾米塔吉博物館（Winter Palace, The Hermitage Museum）舉行大型個人回顧展覽。

寫意風景。今日，園林奔馳昂首、漫步輕行的馬駒成為布拉吉利的標誌，也是他在市場上最受歡迎的題材。他的藝術，帶有渾然天成的恬適，和美妙的音樂性，那種無與倫比的高貴氣質，引人入勝而且歷久彌新。 ◀ 安德烈‧布拉吉利《中央公園》羅芙奧2017春拍 Lot 032 成交價台幣320萬元 ▲ 安德烈‧布拉吉利《馬術表演》1989 彩繪陶瓶 32.5 x 32 x 11 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」 ▼ 安德烈‧布拉吉利《夕色輕騎》私人收藏，日本

▲ 安德烈‧布拉吉利《林間彩姿》2004 油彩畫布 24 x 33 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」

"Winter Ride" a recent oil painting by French artist

of Matisse, Derain, and Vlaminck, and the classical master

André Brasilier (b. 1929), was set to be auctioned in

Eugène Delacroix. The artistic style of Brasilier's youth

February 2019 in London for the estimated price of £70,000.

is characterized by rich colors, overflowing vitality, and

After numerous buyers competed for the work, the actual

exuberant enthusiasm.

price exceeded that estimate many times over. Eventually selling for £320,000, this work set a new record for the artist. Crossing the $400,000 mark, it is proof of the artist's breakthrough into the global market.

In 1953, he won the storied Prix de Rome, a prestigious award founded by King Louis XIV. Each year, the most outstanding French art students are selected for a scholarship to travel around Europe, and cultivate a broad perspective

O f t h e s a m e g e n e r a t i o n a s B e r n a r d B u ff e t , Ya y o i

and breadth of knowledge. While in Italy, Brasilier met the

Kusama, and Andy Warhol, André Brasilier was born in

love of his life-Chantal. The tall and slender couple were not

1929 in the central French town of Saumur. Born into

only a perfect physical match, but also shared the same eye

a distinguished family, his parents were both painters.

for beauty and a great sense of taste. For half a century, he

Growing up in a country house surrounded by natural scenery

painted elegant portraits of her, love letters expressing his

made a profound mark on Brasilier's memory and creative

deepest affections. Having exhibited his work nearly every

consciousness. After the end of the Second World War, he

year from 1960 to the present, the tireless Brasilier works

moved to Paris with his family and enrolled in the École

on his paintings daily. In front of his easel stands his slender

Nationale Supérieure des Beaux-Arts, where he studied

silhouette. Following the artist's movements, brushstrokes

under Maurice Brianchon (La Réalité Poétique). Brasilier

caress the canvas while the wood floor creaks; colors turn to

was a great admirer of the styles of Gauguin, the Fauvist trio

musical notes as his brush paints poetry.

[ THE ARTIST ]

"I seek the balance and harmony between shape and emotion." － André Brasilier His fame spread through the Far East, in 1974, he was invited to his first Japanese art exhibition. Seeped in Eastern theory, the art Brasilier saw was full of Eastern aesthetic wisdom expressed through both its composition and brushwork. The simple large blocks of color and segmented, flat compositions seemed like magnificent sunlit clouds or billowing sands, the colors of ocean and sky melt together leaving a deep impression on viewers. In 2005, Brasilier showcased a retrospective of his work at the Hermitage Museum's Winter Palace in Russia, one of the four largest museums in the world, at the invitation of Director Mikhaïl Piotrovski. And then in 2008, he spent three years completing interior frescoes for the Place Saint-Blaise church near Limoges, France. He also held two solo exhibitions in 1980 and 2010 at the Château de Chenonceau, known as the "Women's Castle."

Brasilier is accustomed to keeping pen and paper at hand for ▲ 安德烈‧布拉吉利《樹下乘涼的三美女》私人收藏

drawing sketch whenever inspiration comes out. He paints a record

▼ 安德烈‧布拉吉利《秋日海德公園》羅芙奧2018秋拍 Lot 039 成交價台幣190萬元

of the scenery as it changes with the seasons, as seen outside from windows in the different studios in his southern French manor. The artist's unique insight into painting allows him to visualize and share abstract emotions with his audience. Skilled at interpreting scenery, he hopes that even if he has never experienced his subject in person, that his work will still strike a chord within his audience. He simplifies external form, allowing the consciousness to wander freely through the vast field of his paintings. Inside his studio, mementos hang on the wall commemorating his many travels, testaments to the painter's ample experiences traveling throughout the world. He regards the horse as a symbol of the divinity of natural creation. Similar to equestrianism, the artist captures, through paint, the noble bearings of horses and riders. Adorning a bare landscape, the horses are painted sparsely, emphasizing their divine dexterity and agility. Today, horses galloping and cantering through fields and forests are Brasilier's trademark and also his most popular paintings on the market. His art, filled with an innate serenity and wonderful musicality, has an incomparable noble quality that is both enchanting and timeless.

MESSY EXPLOSIONS THE NEW AESTHETICS OF EDDIE MARTINEZ 艾迪．馬丁內斯的

混亂爆炸新美學

Photo Credit: Eddie Martinez by Bryan Derballa / Art Partner Licensing

Text / Odile Chen 陳惠黛

Photo / Ravenel International Art Group, Christie's, Phillips, Art Partner Licensing, Perrotin

當代藝術家－艾迪．馬丁內斯（Eddie Martinez），這個以拉丁語

2020 年 1 月台北當代 Taipei Dangdai 藝術博覽會舉辦第二屆活

發音的名字之前在亞洲的知名度並不高。他像是藝術市場的一匹黑馬，

動，未演先轟動，吸引更多家世界級畫廊參與。具有法國背景的貝浩登

帶有街頭塗鴉的精神、神秘的色彩。2019 年時正值 42 歲的馬丁內斯戲

畫廊（Perrotin）在其展位發表了馬丁內斯「花予台灣」（Flowers for

劇化的晉級為百萬美元之列的藝術家，一幅名為《高空飛行的鳥》（High

Taiwan）系列新作，色彩斑斕塗鴉、個性化線條筆觸的單一經典主題

Flying Bird）的三米半巨幅（逾 500 號）油畫，在 2019 年 11 月在香港

「靜物畫」，VIP 首日預覽會全數作品火速售罄，成為當天會場上最受

佳士得夜拍拍出 1572.5 萬港元（約 200 萬美元）的耀眼成績，2020 年

關注的個展之一。國際大明星周杰倫與娛樂圈友人也特來朝聖，他是馬

7 月因肺炎疫情延後的香港拍賣，馬丁內斯的兩米四（約 200 號）大作

丁內斯的收藏家兼好友，據媒體推斷當天也將展品納入收藏。

《佛羅里達 #2》（Florida #2）繼續拍出百萬美元的行情。目前藝術家在國際拍賣市場前二十大排行的紀錄，都是 2019 至 2020 年間所締造。

[ ART & INVESTMENT ] 馬丁內斯的成名不是偶然，他特立獨行、沉默寡言，低調創

對應網路高聲量，藝術家的面對面訪談或者視頻資料則相對稀有。僅管

作，擄獲多位策展人、經紀人與收藏家的青睞。目前在紐約、倫敦

如此，知名藝術相關媒體如《現代畫家》（Modern Painters）、《紐約時報》

各自有代理畫廊：米歇爾─英尼斯與納許畫廊（Mitchell Innes &

（The New York Times）、《紐約客》（The New Yorker）、《採訪雜誌》

Nash Gallery）、提姆斯．泰勒畫廊（Timothy Taylor Gallery）。

（Interview Magazine）、《紐約太陽報》（The New York Sun）、《波士

而亞洲地區的推廣，多靠紮根甚深的貝浩登畫廊展覽合作。三年

頓環球報》（The Boston Globe）、《藝術觀察雜誌》（ArtReview）、《布

間，不同的藝術機構包括畫廊、藝術博覽會、拍賣會等，已在東京、

魯克林鐵路》（The Brooklyn Rail）、《美國藝術》（Art in America）、《建

香港、首爾、上海、台北分別為藝術家成功舉辦個展，人氣指數高。

築文摘》（Architectural Digest）、《文化雜誌》（Cultured Mag）、《富

過去三年間，馬丁內斯也受機構中心的重視，推出有五個博物館大型個展：從 2017 年麻州的戴維斯博物館（Davis Museum）的「螞蟻野餐」（Ants at a Picknic）個展、紐約素描中心（The Drawing Center）的「工作室牆」（Studio Wall）紙上作品展；

比世雜誌》（Forbes）、《超時紐約雜誌》（Time Out New York）、《阿波羅》（Apollo）、《法國紫色》（Purple.Fr），還有藝術電商的《藝術網路新聞》（Artnet News）、《Artsy》等都曾專文報導。他如明星般耀眼，引人想窺探背後更多的故事。

2018 年在紐約布朗克斯博物館（Bronx Museum）「覆蓋以白」

在今日社群媒體蓬勃發達之際，他自己也鮮少在 Instagram 等社群媒體

（White Outs）雕塑和繪畫近作展；還有 2019 年底特律當代藝術

發聲。影音平台 Youtube 網站上，美國 Art 21 的《紐約特寫》（New York

博物館（Museum of Contemporary Art Detroit）「快速艾迪新繪

Close Up）節目曾分別在 2012 和 2013 年訪問過馬丁內斯，留下兩部約莫六、

畫」（Fast Eddie: New Paintings），以及和上海余德耀美術館（Yuz

七分鐘的紀錄短片。這兩部絕無僅有的藝術家訪談影音視頻，紀錄了馬丁內

Museum）「遊宴」（Open Feast）個展。其中，余德耀美術館展

斯深度內斂的談話與法國鬥牛犬 Fanny 的街頭散步溫馨互動，還有四處有噴

出一件 65 英呎（1981 公分）史詩級巨作，融匯了藝術家的心血結

濺著顏料痕跡的工作室，以及創作時的畫家專注的神情快速作畫狀態等。

晶，充滿速度感與趣味。每一檔展覽都是天份與活力的展現，十年磨一劍，才華橫溢的藝術創作，令人目不轉睛。

自學成天才的塗鴉藝術家有些藝術評論家覺得艾迪．馬丁內斯有些神秘，雖然不像班克斯（Banksy）的隱姓埋名，連面容難得一見，不過不少要採訪的邀約也多為代理畫廊謝絕。以 google 搜尋引擎查找 Eddie Martinez，大概可以找出 2200 萬筆資料，加上 Art 關鍵字，排除其他同名者，也有 1300 萬筆。依此搜尋方式，對照尚─米榭．巴斯奇亞（JeanMichel Basquiat）、KAWS，搜尋結果更龐大，顯見近期網路談論熱度極高。

馬丁內斯的成長背景有些周折。1977 年出生於美國康乃狄克州的格羅頓 Groton，童年時住在紐約布魯克林區，成長的過程則遍布美國各州，曾待過佛州，麻州，德州和加州等。後來主要工作和生活都回到紐約布魯克林區，與知名的當代藝術家山姆．莫耶（Sam Moyer）結婚，去年生下一子亞瑟（Arthur），「亞瑟」的名字正是 2020 年夏天兩人在舊金山 Ratio 3 聯展的畫展名稱。 ▼ 艾迪‧馬丁內斯《無題》2015 油彩壓克力絹印墨瓷釉噴漆畫布 182.8 x 274.3 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」 Eddie Martinez, Untitled, 2015, Oil, acrylic, silkscreen, ink, enamel and spray paint on canvas, 182.8 x 274.3 cm, Ravenel Autumn Auction 2020－Select: Modern & Contemporary Art

© 2020 圖片由佳士得提供 Credit to Christie's Images LTD. [2020] 艾迪‧馬丁內斯《高空飛行的鳥》2014 水彩水粉綜合媒材畫布 274.6 x 365.8 cm, 佳士得2019香港秋拍, 成交價HK$ 15,725,000 Eddie Martinez, High flying bird, 2014, Watercolour, gouache, mixed media (board, enamel, spray paint, thumb tacks & paper collage)/canvas, 274.6 x 365.8 cm Christie's Hong Kong Autumn Auction 2019, sold for HK$ 15,725,000

艾迪・馬丁內斯的祖父是波多黎各人，僅管艾迪擁有拉丁裔的姓

年輕時曾經進入兩所藝術學校，包括一年在波士頓藝術學院（Art

氏，他出生時已是道道地地的美國人，不會說西班牙語。他的父親是一

Institute of Boston），但是都無法完成課業。他曾經遺憾無法建立生命

位承建商，專責房屋的油漆。父親可說是小艾迪的藝術啟蒙。兒時隨著

的結構，不過後來問題也能迎刃而解。十年後，他受到母校學生的崇拜。

父親工作，對刷油漆一點都不陌生。看著父親在牆上從零開始，到完成

馬丁內斯可謂是自學成才的藝術家，對塗鴉藝術有其自我的想法，他自

工作，這是他童年時的重要記憶。幫忙之餘，有時會拿著油漆躲到一旁

承非常容易受環境影響，總會留意街邊建築物上被留下來的記號。依照

偷偷畫畫。自小時對繪畫的好奇，以及浸淫在充滿街頭塗鴉文化的美國

直覺去創作，凡事無須清清楚楚，率性而為的自由創作是他永不放棄的

大都會，更是培養了他後來成為藝術家的養分。

奢侈。

收集向來是他生活中重要的一部分，無論是郵票、錢幣、漫畫書，拉拉雜雜的東西，收集成為習慣。1988 年就讀五年級（11 歲）時他住在舊金山，迷上集郵，是個郵票大收藏家，還曾當上少年集郵組織「富蘭克林集郵俱樂部」（Benjamin Franklin Stamp Club）的 treasurer 會計，這段經歷令他非常開心。長大後即使不再集郵，然而收集的樂趣仍在，收集成為創作時的素材。他回顧自己再度具體關注街頭塗鴉藝術，那是 1992 年九年級（15 歲），搬至加州的聖地牙哥之後。起初不外乎臨摹漫畫的人物角色，例如《凱文的幻虎世界》、《辛普森家庭》、《制裁者》和《金剛狼》等。他非常熱愛寫塗鴉字，率性地塗，自在地畫。他也曾經活躍於街頭創作，「街頭轟炸」（street booming）、「主題創作」（piecing）都是過往經歷。然而街頭突擊式的創作畢竟違法，年輕氣盛的衝撞和冒險，終究非長久之計，他形容即使熱愛滑板運動，卻無法冒著折斷脖子的風險犧牲到底。

混搭！畢卡索式的混亂爆炸雖然非學院出身，馬丁內斯的藝術卻有其脈絡。早期作品因流行文化的啟發，傾向於暴力意象、瘋狂的漫畫風格，畫中反覆出現有閃亮大眼睛的人物、動物、小丑、骷顱、像粉刷牆壁的即興塗鴉，城市文化的縮影集成。後來逐漸轉向抽象畫，藝評家認為，他的藝術屬於街頭藝術，拼貼風格，更應回溯到 20 世紀的 1950 年代的傳統經典，彷彿普普藝術、行為藝術、抽象表現主義、眼鏡蛇畫派的大混搭。某方面而言，馬丁內斯的創作精神與內涵，接近於 CoBrA 眼鏡蛇畫派。他對於該團體的成員若恩（Asger Jorn）、阿貝爾（Karel Appel）和阿雷欽斯基（Pierre Alechinsky）的藝術頗為欣賞。該團體成員創作展現的速度感、放棄控制與自動性，還有類似兒童的大型塗鴉，令他傾心。《紐約時報》曾以「眼鏡蛇畫家風格復興」（reviving styles of the Cobra painters）來形容他的創作。

[ ART & INVESTMENT ] 馬丁內斯不喜歡別人將他的藝術類比於德．庫寧（Willem de Kooning）、古斯頓（Philip Guston）或是巴斯奇亞（Jean-Michel Basquiat）的啟發。如果非得要定義他的風格，他毋寧說是一種「畢卡索式的混亂爆炸」！他欽佩畢卡索的多產，敢於使用各種媒材，勇於嘗試並挑戰繪畫歷史。畢卡索經常使用相同的圖像與構圖，變化出新的創作。這個方式讓馬丁內斯獲得信心。於是他也重複單一構圖，樂此不疲，從中變幻出新的想法，然後快速的完成它們。他自許比畢卡索更自由，沒有公式，混亂到爆炸！馬丁內斯的創作本質根源於素描 drawing 的發揮與變奏，每天隨身攜帶麥克筆和 Moleskine 筆記本，靈感一來隨時可畫。作家海明威、畫家梵谷和畢卡索也愛用經典的 Moleskine 筆記本，用以捕捉靈感的片刻。對多數藝術家而言，紙本繪描常常是一種練習，是作品的前奏。然而對馬丁內斯而言，繪描是他的習慣，創作的主軸。繪描不在工作室內進行，而是在家裡畫，在旅行途中畫，像是記事與日誌的工具。然後他把在外隨手素描本上的圖，張貼在工作室牆上，小畫轉譯成大畫，或有時直截移植黏貼在畫布上，使得大畫具有素描的精神內涵與感覺。單純作畫的想法，自動性的素描，他的作品裡沒有強烈的社會或政治批判意識。就地取材，萬物皆可入畫，隨性的材質，凡想得到、想不到的，馬丁內斯都把生活的物件拼貼入畫，可能是油彩、噴漆、釉彩、嬰兒濕紙巾、披薩盒、網球……，或是以絲網版畫放大於畫布，或塗上色彩，或抹去色彩，像是小孩子作記號一般，繪畫是他的日常，是生命的紀錄，一種當代文化的「混搭」概念。 2005 年 28 歲時舉辦了生平的首次個展，一檔在瑞典斯德哥爾摩，一檔在美國波士頓。主題為具象的人物、靜物、動物、曼荼羅、圓桌面，粗黑線條勾勒，活潑帶有卡通模樣的童趣。他對線條與色彩的大膽運用，甚獲好評。2010 年開始擺脫具象， 2012 年則全心開始投入抽象畫，2013 年是關鍵的時期，他嘗試了雕塑的作品，把他創作中對線條、構圖與色彩探索後的立體呈現。日常生活的物件的組合，鑄造成銅件，以色彩賦予雕塑生命，在拼組與構成的過程中進行物質文化的探索。2015 開始使用絲網印刷（silkscreen），得以將繪描素描轉譯放大，產生豐富的意象。 2016 年「情書系列」（Love Letter Series），像是放大版的筆記本，圖文交錯，有一種親密的情感。2018 年「覆蓋以白」（White Outs）十分前衛顛覆，大膽以白色覆蓋，或者消除色彩、圖樣，達到破壞的內涵，在藝術家眼中，移除、抹去本身不是目的，那是構圖時不可或缺的部分。一種新的繪畫元素與概念，代表著創作生涯的重要轉折。2020 年因 COVID-19 疫情，他的「家庭作業」（Home Work）系列線上個展，則反映封關期間的小型作品。馬丁內斯的畫作題目非常率性，經常是當下的生命狀態，線條與色彩強烈、感性而帶有天真的浪漫情懷。「每幅畫都是一次盛宴。」美國藝術家暨作家西蒙尼尼（Ross Simonini）如此形容馬丁內斯的作品。創作發表十多年來，馬丁內斯不斷挑戰自我，可以是單一的構圖的反覆研究，卻不會耽溺於同一風格，豐富的創意譬如畢卡索們永遠令人驚艷。他的每件作品都像一座繪畫島，或說垃圾堆積場亦可，承載著當代文化的共通點，也分享了藝術家的自我，思想記號與生命經驗的累積。

▲ 艾迪‧馬丁內斯《盆花》2010 油彩畫布 152.4 x 121.9 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」 Eddie Martinez, Untitled (White Flower Pot), 2010, Oil on canvas, 152.4 x 121.9 cm, Ravenel Autumn Auction 2020－Select: Modern & Contemporary Art

© Eddie Martinez; Courtesy of the artist, Perrotin, andMitchell-Innes & Nash, New York ▲ 艾迪‧馬丁內斯於貝浩登（香港）個展《EMHK19》現場 2019，攝影：Ringo Cheung View of Eddie Martinez's solo exhibition "EMHK19" at Perrotin Hong Kong, 2019, Photo: Ringo Cheung

2 0 2 0 年度拍賣成交量排名進入全球一百強根據 Artprice 拍賣資料庫的統計，截至 2020 年 9 月為止，艾迪．

已推升至 15 萬美元起跳。到了 2019 年 10 月倫敦蘇富比、香港蘇富比

馬丁內斯共有 111 組作品上拍，光以 2020 年度即包辦了 47 件占有

先後再寫新紀錄，紀錄來到 66.5 萬美元；同年 11 月《高空飛行的鳥》

42% 的比重。由於市場熱度不斷，他的作品成交量年度排行從 2019 年

在香港佳士得夜拍拍出 200 萬美元的天價紀錄，市場熱度破表。

全球第 220 名，2020 年已挺進第 73 名（2020 年 9 月 4 日更新資料），在古今中外數十萬位藝術家拍賣數據資料庫中，進入全球一百強。

來到 2020 年，1 月台北當代藝術博覽會上，馬丁內斯的展品在貴賓預覽日短短數小時即搶購一空，顯見收藏家看好未來行情。2020 年

前文提及，馬丁內斯在 2019 年行情開始進入百萬美元俱樂部。回

儘管有新冠疫情蔓延全球的干擾，上半年的拍賣因資金行情，精彩的藝

顧他在藝術市場的歷史裡，一幅人物主題鉛筆素描在 2009 年瑞典斯德

術作品繼續創高價。在附表的二十大拍賣成交排行中，有一半作品是

哥爾摩的拍賣會首度上拍，因知名度不足而流拍，2010 年同樣一張素

2020 年春拍的交易紀錄。由此可見，2020 秋拍的馬丁內斯仍是國際拍

描拍出了 4,700 瑞典幣（約 650 美元）。2013 年首次有油畫作品上拍《綠

賣市場的耀眼明星。

蛇的閱歷》（Snakesperience）在瑞典上拍，拍出近 1 萬 3000 美元，兩

馬丁內斯的收藏家早期以歐美市場為主，過去兩年之間亞洲市場

年後 2015 年同一幅油畫在倫敦拍出 3 萬 2 千多元，漲價兩倍多。後來

有諸多年輕世代藏家的加入，包括台灣知名藝人周杰倫等。馬丁內斯的

每年零星出現拍品，到了 2017 年度全年已有 11 幅上拍。2017 年則也

其他知名收藏家與機構，包括了世界智慧財產權界知名人物約旦的阿

是首度有馬丁內斯的作品在亞洲（香港）拍賣。

布格扎拉 Abu Ghazaleh、英國倫敦保險公司 Hiscox、倫敦的薩奇收藏

在 2019 年度也有 33 件藝術作品上拍。兩年間行情戲劇化的上升，

The Saatchi Collection、拉丁美洲最重要的私人當代藝術收藏─胡美斯

主要是密集的重要博物館大型個展，以及畫廊一級市場的推廣，促使拍

收藏 La Colección Júmex，以及美國洛杉磯的馬其亞諾藝術基金會 The

賣二級市場的快速發展。2019 年初，他的畫廊定價平均都有 10 萬美元

Marciano Collection 等。相信未來有更多重要收藏家與博物館機構，會

的水準，2019 年 5 月香港富藝斯春拍，他的作品已突破 30 萬美元，創

購藏馬丁內斯充滿當代文化趣味的藝術創作，且拭目以待，更多的精彩

下當時的拍賣新高紀錄，也大舉帶動一級市場的定價行情。2019 年 10

在後頭。

月他的紐約代理畫廊在法國當代藝術博覽會 FIAC 賣出兩幅油畫，價格

[ ART & INVESTMENT ]

Eddie Martinez, a contemporary artist with a Latino name, was not

Martinez did not become famous by accident. A maverick with a

previously a well-known figure in Asia. As a vigorous and mysterions

quiet and low-key sense of creativity, he has captured the attention of

graffiti, he bursts into the art market like a dark house. Then, in dramatic

many curators, agents and collectors. Currently, the Mitchell Innes &

fashion in 2019, 42 year-old Martinez advanced to the level of a million-

Nash Gallery in New York and the Timothy Taylor Gallery in London both

dollar artist when his 3.5 meter large-scale oil painting titled High Flying

serve as his agents, while Perrotin, which has a worldwide network, helps

Bird (over 500F) sold for a stunning HK$ 15,725,000 (approximately

with promotions with a focus in Asia. For the past three years, Martinez's

US$2 million). In another auction in Hong Kong, which was postponed

popularity has led to successful solo exhibitions at various venues,

to July 2020 due to the COVID-19 pandemic, Martinez again fetched

including galleries, art exhibitions, and auctions in Tokyo, Hong Kong,

millions with a 2.4 meter large-size painting Florida #2 (about 200F). In

Seoul, Shanghai and Taipei.

2019 and 2020, the artist has managed to become one of the top 20 artists in the international auction market.

Prized by art institutions in the past three years, Martinez has launched large-scale solo exhibitions at five museums including: Ants

Among the world-class galleries that participated in the second

at a Picknic at Davis Museum in Massachusetts, Studio Wall at the

annual Taipei Dangdai Art Fair in January 2020, the French-based

Drawing Center in New York in 2017, White Outs featuring recent works

Perrotin showcased Martinez's Flowers for Taiwan series with one classic

of sculptures and paintings at Bronx Museum in New York in 2018, and,

topic - still life paintings delivered in the format of colorful graffiti with

for 2019, Fast Eddie: New Paintings at the Museum of Contemporary Art

characteristic brush strokes. During the VIP-preview and vernissage on

Detroit, and the Open Feast solo exhibition at Yuz Museum in Shanghai.

the first day, all paintings by Martinez sold out swiftly, becoming some

Specifically, an epic masterpiece 19.81 meters long was showcased at the

of the most noted works at the fair. Several figures in the entertainment

Yuz Museum, which incorporated the heart and soul of Martinez filled

community were also present during the VIP-preview event, including

with a thrilling sense of speed and humor. Overall, each exhibition served

international star Jay Chou, who happens to be a friend of Martinez and a

as a display of talent and energy, demonstrating Martinez's mature and

collector of his work. Jay also added works by Martinez to his collection

captivating artistic styles which he has sharpened via more than a decade

that day according the Press.

of creative practice.

▶ 艾迪‧馬丁內斯《佛羅里達＃2 （信箱喜鵲）》 2018 綜合媒材畫布 274.6 x 365.8 cm 佳士得2020香港春拍, 成交價HKD 8,285,000 Eddie Martinez, Florida #2 (Mailbox Margie), 2018, Mixed media (silkscreen ink, oil, spray paint, enamel and paper towel)/canvas, 274.6 x 365.8 cm Christie's Hong Kong Spring Auction 2020, sold for HKD 8,285,000 © 2020 圖片由佳士得提供 Credit to Christie's Images LTD. [2020]

Gi f te d Se l f-tau g ht Graf f iti Artist Some art critics feel that Eddie Martinez is a bit mysterious even though he doesn't hide his identity like Banksy. Martinez tends to shy away from public appearances and interviews, and such invitations are

restrained conversations about his life and work. The footage shows his warm interaction walking Fanny his French bulldog, his studio full of traces of sprayed paint, and his focused energy and spirit while painting in his characteristic speedy style.

mostly declined by the galleries representing him. Using Google to search

Martinez has had some ups and downs in his life. Born in

for "Eddie Martinez" leads to about 22 million results. Adding "art" as a

Groton, Connecticut in 1977, he spent his childhood in Brooklyn,

keyword to eliminate people with the same name, 13 million results remain.

New York, and lived in various states while growing up, including

Compared to Google searches of "Jean-Michel Basquiat" or "KAWS", for

Florida, Massachusetts, Texas, and California. Afterwards, he returned

example, it is evident that Martinez has become quite a hot topic on the

to Brooklyn, New York to live and work. He is married to famed

internet lately.

contemporary artist Sam Moyer. They had a son named Arthur last

In contrast to his high popularity on the Internet, face-to-face interviews or video footage of Martinez are quite rare. Nevertheless, Martinez has been

year after which their joint exhibition at Ratio 3 in San Francisco this summer was titled.

featured in special reports by numerous prominent media including: Modern

Although his grandfather was Puerto Rican, Martinez was an

Painters , The New York Times , The New Yorker , Interview Magazine , The

authentic American who did not speak Spanish despite having a

New York Sun , The Boston Globe , ArtReview , The Brooklyn Rail , Art in

Latino surname. A contractor who specialized in house painting,

America , Architectural Digest , Cultured Mag , Forbes , Time Out New York ,

Martinez's father also served as little Eddie's artistic mentor. As a

Apollo , Purple.Fr, and art e-commerce sites , such as Artnet News and Artsy .

child, he worked alongside his father and became well-versed with

Like a dazzling star, his mysteriousness is alluring to many who wish to

painting.

learn more about him.

Watching his father starting from scratch until the wall is

Though social media has been flourishing lately, Martinez seldom posts comments on platforms, such as Instagram. His only appearance on Youtube consists of two short documentaries and interviews, each about six to seven minutes long, featured in the New York Close UP program by Art21 in the U.S. These two videos provide a rare glimpse of Martinez's in-depth yet

▼ 2020台北當代貝浩登畫廊展位 A view for Perrotin at Taipei Dangdai 2020

[ ART & INVESTMENT ]

completely painted is an important memory of his childhood. While

to the street art and the style of collage may be traced back to the

helping with the sometimes chore he would take a little of the wall

traditional classics in the 1950's, is similar to a mix-and-match of pop

paint and do his own drawing on the side. His curiosity about painting

art, performance art, abstract expressionism and the art of CoBra.

and his immersion in urban America full of graffiti culture had become the natural nourishment cultivating him to become an artist during his childhood.

In some aspects, Martinez's creative spirit and intentions are closer to the CoBra group. He admires CoBra artists such as Asger Jorn, Karel Appel, and Pierre Alechinsky, and loves the creative process of

Collections have also been an important part of his life as he

CoBra group members, which exhibits a sense of speed, autonomy and

habitually collects stamps, coins, comic books, and assorted items. In

abandonment of control, in the presention of large-scale children's style

1988 when he was a fifth grader at age 11, he lived in San Francisco

graffiti. The New York Times once described his art as "reviving styles

and became fascinated with stamp collecting. Once, he even became

of the Cobra painter s".

the treasurer of Benjamin Franklin Stamp Club, an organization for young stamp collectors, and he was quite happy about that experience. Though he no longer collects stamps as an adult, he still enjoys the act of collecting, and his collections now serve as the creative source of his artistic works.

Martinez rejects comparison of his art to that of Willem de Kooning, Philip Guston, or Jean-Michel Basquiat. If he had to define his style, he would describe it as "Messy explosions of Picassos ". He admires Picasso's high productivity, and courage to experiment with various media challanging the historical paintings. Picasso often relied on the

He recalls how he became focused again on graffiti art after moving

same images and composition to come up with new paintings, which

to San Diego, California in 1992 at age 15 when he was in the ninth

gives Martinez confidence to use this method. He would use the same

grade. In the beginning, he did nothing more than replicating comic

composition and come up with new ideas for alteration before completing

characters such as Calvin and Hobbes , the Simpsons , Punisher , and

the paintings quickly. He claims to enjoy more freedom than Picasso with

Wolverine . Passionate about the free style with abandon in graffiti

no formula, so messy that it explodes.

writing and painting. After all, guerilla-style street graffiti is illegal and the youthful energetic exploits and adventure cannot last forever. Martinez described it as, even those who love skateboarding would not risk neck-breaking sacrifices to the end.

The essence of Martinez's creativity is rooted in the play and variation of free-hand drawing. He carries markers and a Moleskine sketchbook so he can record his inspirations whenever they appear. The classic style of Moleskine notebooks is also the favorite of writer

Martinez attended two art schools when he was young, including

Hemingway, as well as painters Van Gogh and Picasso, who use it to

one year at the Art Institute of Boston, though he never completed his

capture momentary imaginations. For most artists, drawing on paper

studies. He was once regretful about his inability to establish some

is a type of exercise that often becomes a prelude to a work of art. For

structure in life, but the problem eventually solved itself as he became

Martinez, however, sketching is his habit and the main focus of his

the target of admiration by students at his alma mater 10 years later.

creativity. He draws not only inside his studio, but also at home and

Martinez is a self-taught artist who has his own ideas about graffiti art.

while he travels, where drawing becomes a tool to take notes and write

He admits to being easily affected by the surrounding environment, often

journals. Afterwards, he would takes his sketchbook drawings and put

noticing marks left on street side buildings. He creates according to

them up on the walls of his studio, transforming a little drawing into

instinct, without the need for precision. Creative work based on impulse

a large painting or even pasting directly onto the canvas to imbue the

and freedom is a luxury he would never abandon.

spiritual content and feeling of the sketch onto the larger canvas. The

Match ! Me ssy Exp losions of Pi c a s s os

pure thought of painting and instinctive sketching leave his work free of strong social or political criticism. Applying whatever is on hand,

Even though he does not come from an academic background, the

all things may become part of his paintings regardless of the material.

art of Martinez comes with its own context. Inspired by popular culture,

Martinez has included random objects in life in his collages, including

his early works tend to contain violent imagery of a crazy comics style

oil paint, spray paint, glaze, baby wipes, pizza boxes, or tennis balls. He

repeatedly featuring figures with big shiny eyes, animals, clowns, skulls,

has also printed onto the canvas with enlargement of silkscreening, put

resembling impromptu graffiti wall painting that is also a microcosm

on or scrap away colors. Just like children making marks in life, painting

of the culture of the metropolis. His style gradually transformed into

is in his daily life, is a record of living, and is a concept of "mix and

abstract paintings at a later stage. Art critics believe that his art belongs

match" in contemporary culture.

◀ 艾迪‧馬丁內斯《情書＃16》2017 綜合媒材畫布 243.8 x 190.5 cm 佳士得2020香港春拍, 成交價HKD 3,845,000 Eddie Martinez, Love Letter #16, 2017,Mixed media (silkscreen ink, oil and enamel)/ canvas, 243.8 x 190.5 cm Christie's Hong Kong Spring Auction 2020, sold for HKD 3,845,000

pandemic. The subjects of Martinez's paintings are quite straightforward, often representing his situation in life at the moment, with bold lines and colors while conveying sensuality as well as a sense of romantic innocence. "Each painting is a feast", that's how American artist and writer Ross Simonini describes the works of Martinez. For more than a decade, Martinez continued to challenge himself in art presentations, which could be a repetitive research of looking through a single composition without indulging in the same style. His bountiful creativity always amazes just © 2020 圖片由佳士得提供 Credit to Christie's Images LTD. [2020]

like Picasso. Each one of his works is like an island of painting, or a garbage dump that carries the commonalities of contemporary culture

Martinez held his first solo exhibitions in 2005 when he was 28 years old, at Stockholm, Sweden and in Boston, U.S.A. The subjects of his paintings were figurative people, still life objects, animals, mandalas, and round table tops outlined in thick black lines characteristic of lively cartoon styles. His bold use of lines and colors has won him favorable

while sharing the artist's self-identity, contemplation symbols and the accumulation of life experience.

A c h i ev i ng wor l d's top 1 00 i n a u c ti on v ol u m e i n 2020

reviews. In 2010, he began to move away from figurative painting

According to Artprice auction record statistics, as of September

and devoted himself entirely to abstract painting by 2012. 2013 was

2020, Eddie Martinez had a total of 111 sets of works for auction, with

a critical period for him as he made attempts at sculptural art, turning

47 of them or 42% in 2020 alone. Due to continuous enthusiasm for

his explorations of lines, composition and colors into 3D format.

his works in the market, his annual sales volume advanced from a rank

Combinations of daily objects are cast into bronze pieces and endowed

of 220th globally in 2019 to 73th in 2020 (with the latest update on

life with colors, conducting an exploration of material culture in the

September 4, 2020), propelling his stance into the global top 100 in the

process of assembly and composition.

auction database of hundreds of thousands of artists of all times.

In 2015, he began to experiment with silkscreening, which allowed

As mentioned above, Martinez earned his seat in the Million Dollar

enlargement of sketch drawings and production of rich imageries. His

Club starting in 2019. Looking back on his history in the art market,

Love Letter Series in 2016 was like an enlarged version of a notebook

his first auction lot, a pencil sketch of a figure, was "bought-in" at an

with texts and drawings that created a sense of intimacy. Meanwhile,

auction in Stockholm, Sweden in 2009 because he was still unknown to

the avant-garde White Outs exhibition in 2018 was boldly covered in

the art world. In 2010, however, the same sketch fetched 4,700 Swedish

white, or an elimination of colors and images to achieve the implication

Krona (about US$650). In 2013, his first auction of an oil painting titled

of destruction. In the eyes of the artist, removal and erasure are not

Snakesperience sold for nearly US$13,000 in Sweden, but the same oil

the objectives, but an indispensable part of composition, a type of new

painting sold for double the price at US$32,000 in 2015. Subsequently,

painting element and concept representing a major turning point of his

his works appeared sporadically every year. For the year 2017, he had

creative career. His Home Work series exhibited online in 2020 includes

a total of 11 lots in auction, which was also Martinez's entry into the

small-size works reflective of the period of closure due to the COVID-19

auction market in Asia (Hong Kong).

[ ART & INVESTMENT ]

In 2019, Martinez had 33 lots in auction, and his dramatic rise

Taiwanese singer/composer Jay Chou. Other renowned individual and

in the market over the past two years was mainly due to large-scale

institutional collectors of Martinez include: Jordan's Abu Ghazaleh, who

solo exhibitions at significant museums in a short period as well as

is well-known in the circle of world intellectual property rights, London

promotions by first-tier galleries, which led to the rapid development of

insurance company Hiscox, the Saatchi Collection in London, Colección

the second-tier auction market. In early 2019, his works averaged at least

Júmex, which is the most important private contemporary art collector in

USD$100,000 at the galleries. During the Phillips Hong Kong Spring

Latin America, and the Marciano Collection of Los Angeles, USA. Even

Auctions in May 2019, his work had exceeded the USD$300,000 mark,

more prominent museums and collectors are sure to purchase Martinez's

setting a new auction record at the time, which also greatly boosted the

artworks, which are filled with a contemporary sense of cultural humor.

price tag of his works in the first-tier market. By October 2019, his New

Look forward to more exciting developments in the future.

York gallery agent had sold two of his oil paintings during the FIAC with prices starting at US$150,000. In the same month, Martinez's paintings again set new records in Sotheby's London and then Sotheby's Hong Kong at US$665,000. In the following month, High Flying Bird sold for an incredible US$2 million at Christie's Hong Kong, heating up the market to inconceivable heights. When Martinez's works arrived at the Taipei Dangdai Contemporary Art Exhibition in January of 2020, they were sold out in just a few hours on the VIP preview day, demonstrating collector optimism about his future in the market. Despite the spread of pandemic Covid-19 worldwide in 2020, due to the workings of the capital market, auctions in the first half of the year continued to reach high prices for celebrated works. Among the top 20 auction transactions as shown in the attached table, half were transactions during spring auctions in 2020. Evidently, Martinez remains a shining star in the 2020 autumn auction market internationally. In the early years, collectors of Martinez's works mainly came from the European and American markets. In the last two years, many young collectors in the Asian market have also joined the fray, including well-known

▼ 艾迪‧馬丁內斯《綠蛇的閱歷》2006 壓克力與螢光顏料 121.9 x 152.4 cm 富藝斯2015倫敦秋拍, 成交價23,614歐元 Eddie Martinez, Snakesperience, 2006, Acrylic, flashe/panel,121.9 x 152.4 cm Phillips Autumn Auciton in London, 2015, sold for € 23,614

艾迪 • 馬丁內斯作品二十大拍賣成交排行 1

高空飛行的鳥 High flying bird

佛羅里達＃2（信箱喜鵲） Florida #2 (Mailbox Margie)

實驗心態 Empirical Mind State

幾乎迷失4號 Almost Lost #4

隆隆聲 Rumble

2014 Watercolour, gouache/ board, enamel, spray paint, thumb tacks & paper collage/canvas 274.6 x 365.8 cm

2018 Mixed media (silkscreen ink, oil, spray paint, enamel and paper towel)/canvas 190.5 x 243.8 cm

2009 Oil, spray paint/canvas 182.8 x 274.3 cm

2012 Oil, spray paint/canvas 182.9 x 152.4 cm

2012 Oil, spray paint/canvas 152.9 x 213.6 cm

預估價 Estimate

US$153,367~230,050 HK$1,200,000~1,800,000

US$309,648~490,276 HK$2,400,000~3,800,000

US$129,511~194,266 £100,000~150,000

US$127,806~191,709 HK$1,000,000~1,500,000

US$76,495~101,993 HK$600,000~800,000

成交價 Sold at

US$709,323 HK$5,550,000

US$664,870 HK$5,215,000

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Nov 23, 2019

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Jul 10, 2020

拍賣日期 Auction Date 倫敦蘇富比 Sotheby's, London Feb 11, 2020

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Nov 24, 2019

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong Oct 06, 2019

激烈反抗2號 Up in Arms #2

情書20號 Love Letter #20

廢棄城堡的鑰匙 Keys to a Defunct Castle

你來不及 You Come Up Short

快樂繪畫 Happy Painting

2009 Acrylic, oil, spray paint/ canvas 153 x 183 cm

2017/18 Mixed media (oil, enamel, silkscreen ink, collage, push pin)/canvas 243.8 x 190.4 cm

2015 Mixed media (oil, acrylic, enamel and spray paint)/ canvas 183 x 274 cm

2016 Silkscreened inks, oil paint, enamel, spray paint, thumbtack, palette paper, metal/canvas 182.9 x 274.3 cm

2014 Acrylic, oil, spray paint/canvas 182.9 x 152.4 cm

預估價 Estimate

US$76,664~102,219 HK$600,000~800,000

US$90,319~154,833 HK$700,000~1,200,000

US$480,000~680,000

US$251,628~377,443 £200,000~300,000

US$100,000~150,000

成交價 Sold at

US$615,000

成交價 Sold at

US$548,000

US$2,009,749 HK$15,725,000

US$647,818 HK$5,070,000 拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Nov 25, 2019

US$1,068,930 HK$8,285,000

US$641,914 HK$4,975,000 拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong Jul 09, 2020

US$796,492 £615,000

成交價 Sold at 拍賣日期 Auction Date 紐約佳士得 Christie's, New York Mar 05, 2020

US$592,586 £471,000

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London Jul 15, 2020

成交價 Sold at

拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York Nov 15, 2019

[ ART & INVESTMENT ]

TOP

TOP 20 MOST EXPENSIVE PAINTINGS OF EDDIE MARTINEZ EVER SOLD AT AUCTION

製表／吳汶薇 Vivian Wu （Update 2020.08.14; Source: Artprice.com, Christie's, Sotheby's, Phillips）

情書＃16 Love Letter #16

尼安德特人的牛仔褲 Neanderthal Jeans

權益 Entitlement

銀河系桌遊 Intergalactic Go Fish

2017 Mixed media (silkscreen ink, oil and enamel)/canvas 243.8 x 190.5 cm

2014 Mixed media (oil, enamel, spray paint, paper collage)/canvas 182.9 x 274.3 cm

小情書 #1 （山姆的商務筆記） Small love letter #1

2012 Acrylic, oil, spray paint/canvas 152.4 x 213.4 cm

2007 Acrylic, oil, spray painte/canvas 152.4 x 189.9 cm

預估價 Estimate

US$103,216~154,824 HK$800,000~1,200,000

US$261,165~391,748 £200,000~300,000

US$76,683~102,244 HK$600,000~800,000

US$130,382~195,573 £100,000~150,000

US$232,250~361,278 HK$1,800,000~2,800,000

成交價 Sold at

US$496,081 HK$3,845,000

US$489,685 £375,000

成交價 Sold at

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Jul 11, 2020

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London Feb 13, 2020

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Nov 24, 2019

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London Feb 14, 2020

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Jul 08, 2020

食人者的眼睛 Cannibal Eyes

你的過去是我的未來 Your Past Is My Future

無題 Untitled

憤怒之淚 Tears of Rage

無題 Untitled

2014 Mixed media (oil, spray paint, enamel, collaged R + F wrappers, preservative packet)/canvas 182.9 x 152.4 cm

2011 Oil, spray paint/canvas 152.4 x 213.4 cm

2012 Oil, spray paint/board 91.4 x 121.7 cm

2014 Mixed media (oil, enamel, paper collage, Trident wrapper and plaster cheesecloth)/canvas

2012 Mixed media (oil, enamel & spray paint)/ canvas 182.9 x 152.4 cm

預估價 Estimate

US$155,632~233,449 £120,000~180,000

US$98,654~147,982 £80,000~120,000

US$51,122~63,902 HK$400,000~500,000

US$86,323~123,318 £70,000~100,000

US$89,180~114,660 HK$700,000~900,000

成交價 Sold at

拍賣日期 Auction Date 倫敦佳士得 Christie's, London Feb 12, 2020

拍賣日期 Auction Date 倫敦蘇富比 Sotheby's, London Oct 04, 2019

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Nov 24, 2019

拍賣日期 Auction Date 倫敦佳士得 Christie's, London Oct 05, 2019

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

US$450,362 £347,250

2017 Oil, acrylic, screenprint, ink & graphite/paper 182.9 x 152.4 cm

US$399,393 HK$3,125,000

US$488,932 £375,000

US$483,855 HK$3,750,000

183 x 152 cm

US$416,200 £337,500

US$335,490 HK$2,625,000

US$323,711 £262,500

US$318,501 HK$2,500,000

T H E R OA D U N TA K E N H OW " FA R " CAN WINE GO? 不走尋常路－葡萄酒無極限 Text / 唐維怡 Eva Tang

Photo / Ravenel International Art Group

迎著颯爽秋風，穿越一片片的葡萄園，我們來到位於香檳區 Epernay 的 Leclerc Briant，酒莊的人語帶驕傲地向我們介紹著酒莊自 2010 年老莊主過世後，建基原有的自然動力農法與減少酒液干擾的基礎，在總經理 Frédéric Zeimett

| 24K 金黃金桶 | 最令人嘖嘖稱奇的，則是酒莊自 2016 年開始的 24K 金桶的發酵使用， Leclerc Briant 認為「純淨的口感」是香檳最極致的追求，而黃金是生物動

的帶領下，揉合中國的金木水火土五行觀念，針對葡萄酒

力法中最純淨的中性材質，不會對酒液有任何的氣味上的影響；做為一種金

發酵與陳年的容器材質、器形、與陳年地點做了諸多實驗，

屬，黃金亦能與宇宙產生共振，將太陽的能量傳遞到酒液之中，使得酒液活

Frédéric Zeimett 希望能賦予生物動力法一個全新的形

性提升，增加鮮活感。酒廠因此挖空心思打造了一個容量 228 公升、披著不

象，稱自己是所謂的「Bio Chic」。

鏽鋼外皮的 24K 金黃金桶，沉睡在這個黃金桶中的單一園 (La Criosette) 單一年份酒液，未來預計與 1/3 來自陶甕、1/3 來自波爾多橡木桶陳年的酒液

別讓橡木和不鏽鋼桶侷限了你的想像

混和。金屬與宇宙共振，是天的影響；陶土來自地面，是地的影響；木頭則

| 陶甕 |

連接了天與地，使孕育出的酒成為天地人的產物。

熟悉葡萄酒歷史的朋友都知道，距今約八千年前的喬治亞時期便

| 玻璃與水晶 |

已經有運用大型陶甕來發酵和儲存葡萄酒的釀造方式，在如今一片反

除了黃金桶內的發酵，Frédéric Zeimett 在他的研究中發現玻璃與葡萄

璞歸真的浪潮之中，許多酒廠亦試圖從不鏽鋼桶和橡木桶跳脫，開始

生長週期中的某個元素是相同的，因而在 2019 年開啟了新的實驗計畫，運

嘗試陶罐的使用，Leclerc Briant 也不例外。

用打磨成大水滴型的玻璃容器來盛裝發酵中的酒液，期盼能讓葡萄有回到

陶器的好處在於他透氣而不透水的結構，無論是在陶器中發酵或陳年，都能使酒體在溫和的氧化中變得醇厚柔和，金門高粱的傳統陳年容器便是陶壇，取的就是陶壇在陳年過程中的呼吸熟成。不過相較於主流強調自然對流的直立式蛋形，Leclerc Briant 的陶罐呈現橫躺的蛋形，酒廠認為雞蛋最自然的狀態就是平躺而非直立，順其自然才能避免對酒液有任何的干擾。

熟悉環境的放鬆感，同時為最大程度排除任何形式的驚嚇干擾，發酵過程中連抽取酒液來進行品飲都嚴格禁止。而波爾多索甸區的 Château LafauriePeyraguey 在被法國頂級水晶品牌 Lalique 的擁有者 Silvio Denz 收購後，以傳統的失蠟製造技術、耗時兩年打造了一個 225 公升的水晶酒桶來盛裝 2013 年份的甜酒，成為全世界第一個嘗試以水晶陳年葡萄酒的酒莊，可惜的是 Lafaurie-Peyraguey 似乎並未將水晶桶陳年當作一場認真的實驗。

[ WINE ] 上山下海－葡萄酒的陳年地點可以超乎想像在發酵容器上的實驗還不是全部，Leclerc Briant 在 2016 年開始了海底陳年的實驗，選擇酒窖總管 Hervé Jestin 的故鄉 -- 法國西部 Ouessant 小島附近的大西洋海底，在 60 米深的地方將香檳陳放一年至一年半，第一批香檳的測試結果令人振奮，對比顯示在海底攝氏 12、 13 度的穩定低溫與六大氣壓的壓力下，酒質較陸地上的儲存更能保持鮮活年輕的狀態。然而，關於海底陳年的試驗，Leclerc Briant 並非第一人。2010 年，一艘十九世紀中期的商船被發現沉沒在芬蘭奧蘭群島南部的海底，在這艘商船上一共發現了 168 瓶香檳，其中 47 瓶來自凱歌香檳 (Veuve Clicquot)，且根據換塞時的推測，這些香檳來自凱歌夫人親手釀造的 1839-1841 年。更重要的是，這些香檳在海底 50 米處沉睡超過 170 年後，絕大部分竟仍能保持在良好的狀態，有些甚至還有著些微的氣泡。在 2011 年的一場拍賣會上，47 瓶凱歌香檳中的一瓶更敲出三萬歐元的世界紀錄。這艘沉船的發現促使凱歌香檳在 2014 年開啟了一個為期四十年的「海底酒窖實驗計畫 Cellar In The Sea」，酒莊準備了 350 瓶 2004 年份的各式香檳，放入沉船被發現的波羅地海海域水深 42 米處，預計每三年會將存放於海底酒窖與陸地酒窖中的酒作一次對比，分析海底儲存

取名「Neptune ( 海神 )」，放入 Arcachon 海灣的牡蠣養殖廠，深度取

對酒質造成的影響。

於退潮時的零點。裝瓶後結果令人眼睛一亮，儲存於海水裡的 Neptune

而曾於 20 多年前就嘗試於阿爾卑斯山進行葡萄酒陳年試驗的卓皮耶香檳 (Champagne Drappier)，儘管其高山實驗因瓶內壓力大於外在環境，造成泡泡流失而宣告失敗，莊主仍勇敢地於 2013 年加入海底陳年

展現出更為細緻的單寧與柔順的口感。同樣位於波爾多 Grave 地區的 Château du Coureau 也打造了一款 Le Blanc des Cabanes 白酒，同樣放置於法國西南部的 Bassin d'Arcachon 海灣，以養牡蠣的方式於海底靜置七個月，成品上市後有著飽滿的果香和礦物的氣息，酒質綿滑。

的實驗行列。然而，第一批的實驗因選擇放置的位置潮汐較為劇烈，一天兩次的翻轉反而加速了香檳的熟成；第二年開始，Drappier 移師布列

海底陳年究竟對葡萄酒有怎麼樣的影響目前尚未有系統性的研究結

塔尼 (Brittany) 海域一處水深 30 米、溫度長年保持在攝氏 10 度的海底，

論，就現階段的實驗結果來說，海底穩定的低溫、較少的光線、100%

兩年後打撈上來的比對發現，穩定的海域使得香檳的氧化速度變得緩

的濕度、近乎無氧的環境，同時又有著較陸地更強的大氣壓力，在排除

慢，水中陳年的香檳較陸地上的陳年來得更為新鮮，與 Leclerc Briant

劇烈潮汐與海流的影響下，似乎確實能降低瓶內酒液的氧化程度。基於

有著相同的結論。

這樣的發想，日本的山崎酒廠在 2015 年將六款威士忌送上國際太空站，測試在低溫且完全無重力的狀態下，酒將會如何陳年、又是否會產生新的風味，酒廠預期兩年後取回，不過目前並未有相關後續消息。

軟木塞的窮途 ? 回到葡萄酒的世界，說起酒莊的各種實驗與突破，就不得不提到近年來頗受爭議的旋蓋與軟木塞議題。根據 2019 年 Melanie Cressman 的一份市場研究報告，天然軟木塞 (one-piece cork) 的全球市場瓶數比重已從 1999 年的 34% 下降到 10%，替代塞 (alternative closure) 如今已成為市場主流，其中旋蓋 (screw cap) 更佔全球葡萄酒瓶數比重的 32%，無論是在澳洲、美國、甚或是舊世界的法國和德國，旋蓋的使用率皆已遠遠超越傳統的軟木塞。金屬旋蓋之所以受到市場青睞，最主要是可以避免葡萄酒因軟木塞感染所形成的怪味，這種簡稱 TCA 的化合物會為葡萄酒帶來一股潮濕法國波爾多 Château Larrivet Haut-Brion 的釀酒師 Bruno Lemoine

的霉味，儘管 TCA 發生的比例已在業界的努力下從過去的 5% 下降到

也聽聞了許多海底儲酒的故事，為了親自體驗海底陳年對葡萄酒的影

1%，但品質再高的軟木塞依然無法完全避免。再者，金屬旋蓋成本較

響，他選擇了單寧豐滿的 2009 年紅酒，打造了兩個 56 公升的迷你木

低，無須工具即可開啟，甚至可以避免葡萄酒裝瓶初期會產生的「暈瓶

桶，一只取名「Tellus ( 大地女神 )」，以傳統方式存放於酒窖；另一只

(Bottle Sick)」。

位於 Chablis 的 Domaine Laroche 是金屬旋蓋的擁護者，他認為金屬旋蓋不僅消除了 TCA 的發生，同時也因為更少的氧化，允許酒莊在釀酒時最大限度地減少二氧化硫的使用，使酒液保持鮮活的氣息。勃根地名莊 Domaine Ponsot 也在花費近 20 年的時間研究軟木塞議題後，選擇在 2008 年全面改採高科技的合成軟木塞 Ardea Seal Cork，前任莊主 Laurent Ponsot 認為軟木塞最大的問題是其難以控制的隨機性，即便同樣存放在酒莊的酒窖內，靜躺數十年後，同酒莊同年份的同款酒可能就會在一呼一吸之間發展出截然不同的個性，有的偉大有的平凡。Ardea Seal Cork 科技塞則可將每年進入瓶內的氧氣量控制在成年人每次呼吸的百分之一，大大減低軟木塞隨機性帶來的差異。令人意外的是，就連波爾多五大酒莊之一的 Château Margaux 也曾針對天然軟木塞、合成軟木塞、及金屬旋蓋進行了長達十多年的秘密研究與實驗，已於 2015 年辭世的前任酒莊總管 Paul Pontallier 曾於 2012 年透露使用 Saratin 內襯的金屬旋蓋竟在過去十多年的對比盲飲中得到一致好評。然而，軟木塞至今依然無法完全被割捨，除了他賦予葡萄酒的尊榮感和儀式感外，更重要的是目前尚無法判定金屬旋蓋對葡萄酒長期陳年的影響。Paul Pontallier 便嚴謹地表示 Château Margaux 的酒款往往需要數十年的時間才能在瓶中達到巔峰，十年的時間並不足以作出熟優孰劣的判斷。全世界各地的酒莊都在用自己的方式進行著各種實驗，Leclerc Briant 運用 24K 金桶的發酵陳年若是打造出了前所未有的驚世之作，也不代表不鏽鋼槽和橡木桶就該被淘汰；Veuve Cliquot 的海底窖藏計畫在每三年一次的評比中若每每都是海底窖藏表現勝出，也不代表三四十年後海底窖藏酒款的變化將會勝過現行的陸上酒窖陳年，更不代表所有的葡萄酒放入海底都會有好表現；儘管 Laurent Ponsot 全面改採 Ardea Seal Cork， Château Margaux 至今仍未放棄天然軟木塞的使用，這些因應不同情況而採取各自最適方式的堅持，不才是葡萄酒最讓人迷戀的多變性 ? With a cool autumn breeze at our backs, we arrived at Leclerc Briant in the champagne region.. There, we were proudly

introduced the concept of "Bio Chic." Based on the original foundation of biodynamic agriculture, Genenral manager at

Leclerc Briant, Frédéric Zeimett, had combined the Chinese W u x i n g t h e o r y - - F i v e E l e l m e n t s o f m e t a l , w o o d , w a t e r, f i r e ,

and earth. He brought out several experiements concerning

the materials, shapes, and locations for wine fermentation and aging.

T h er e a r e m u c h m or e th a n j u s t O a k B a r r e l s a n d S ta i nl es s S teel | Clay Jugs |

People familiar with the history of wine would know that large clay jugs had been used to ferment and store wine in brewing methods from the Georgian era about 8,000 years ago. Along with the current trend of returning to more rustic means, many wineries are now using clay jugs in place of stainless steel and oak barrels. Leclerc Briant is of no exception.

[ WINE ]

The advantages of clayware lay in its breathable and water-

jugs, while another one third will be from Bordeaux oak barrels. Metals

impermeable structure. Fermentation and aging in clayware allows

showcase the power of universe, clay from the ground demonstrate the

the body of wine to become mellow and gentle during mild oxidation.

link to the earth, and wood connects heaven and earth to give birth to a

Kinmen Kaoliang applies traditional clay jars as aging containers to

product of terroir.

achieve breathable ripening during the aging process. However, Leclerc

| Glass and Crystal |

Briant uses egg-shaped clay pots that lie horizontally in comparison with the mainstream vertical orientation emphasizing free convection. The winery believes that egg-shaped forms are in the most natural state when they lie horizontally rather than vertically; following this natural flow can prevent any interference to the wine. | 24k Gold Barrel |

In addition to fermentation inside gold barrels, Zeimett also discovered a common element within glass and the growth cycle of grapes in his study. He then started a new experimental project in 2019 that used glass containers polished into a large water drop shape to store wine during fermentation. This was expected to allow grapes to ferment under a relaxing and familiar environment, even sampling wine for

Most astonishingly, the winery began using 24k gold barrels for

tasting purposes is strictly prohibited as it is considered an interference

fermentation in 2016. Leclerc Briant believes that purity is the ultimate

to wine. In Sauternes, sub region of Bordeaux, ChĂ˘teau Lafaurie-

pursue of champagne. As the purest neutral material in biodynamics, gold

Peyraguey has collaborated with Lalique, the premium French crystal

does not affect the flavor of wine in any perspectives. As a metal, gold

brand, to create a 225-liter crystal barrel by the traditional lost-wax

also resonates with the universe and transfers energy from the sun into

technique. The crystal barrel was used to hold the 2013 vintage sweet

the wine, making it more vigorous and refreshing. Therefore, the winery

wine, making ChĂ˘teau Lafaurie-Peyraguey the very first winery in the

built a 228-liter 24k gold barrel wrapped in a stainless steel skin to store

world to age wine in crystal barrels. It was a pity that this crystal-barrel-

wine from a particular year and single vineyard (La Criosette). In the

aging was only considered a one-time-celebration rather than experiment

future, one third of the wine will be mixed with vintage wine from clay

for ChĂ˘teau Lafaurie-Peyraguey.

U p to Mo untain an d Un der the Sea –

in the undersea cellar to compare with those in the traditional cellar to

A g i n g Lo cations b eyon d Im ag ination

analyze the effects of undersea storage on wine quality.

Leclerc Briant experimented with more than just the materials of containers. In 2016, it began its undersea aging experiment by placing champagne at the bottom of the Atlantic Ocean near Ouessant Island in the western region of France, the hometown of Cellar Master Hervé Jestin. The champagne was stored at a depth of 60 meters for 1 to 1.5 years. The first batch of champagne delivered exciting results. Compared to the traditional cellar storage, the undersea storage sample remained in a much fresher and more vibrant state. It is believed that the stable low temperature of 12℃- 13℃ and the pressure of 6 atmospheres under the sea provide a better atmosphere for wine storage. Nevertheless, Leclerc Briant was not the first to experiment with undersea aging. In 2010, a mid-19th century merchant ship was found at the sea bottom near the southern Aland Islands of Finland. A total of 168 bottles of champagne were found on this merchant ship, of which 47 bottles came from Veuve Clicquot. According to estimates based on recork, these bottles were brewed by Madame Clicquot herself between 1839 and 1841. More surprisingly, most of the champagne remained in good condition even after sinking at a depth of 50 meters in the sea for over 170 years. Some of them evenl had some sparkles still. At an auction in 2011, one of the 47 bottles of Veuve Clicquot Champange was sold at a record-breaking price of 30,000 Euros. The discovery of this shipwreck inspired Veuve Clicquot to initiate a 40-year experimental program called "Cellar in the Sea" starting 2014. The winery prepared 350 bottles of champagne from 2004 and placed them into the Baltic Sea at a depth of 42 meters where the shipwreck was found. Every three years, they will pick up one bottle of champagne

Champagne Drappier had experimented with wine aging in the Alps over 20 years ago. Although the experiment failed due to bubble loss from greater pressure in the bottle than the external environment, the owner still bravely participated in the experiments of undersea aging in 2013. In the first attempt, the bottles were placed in an area with strongtides, where twice a day of rolling accelerated the maturation. Since the second year, Drappier moved the bottles to Brittany areaat 30 meters deep, where the temperature kept at 10℃. Two years later, the comparison found that the stable sea area had significantly slowed down the speed of oxidation. Thus the champagne from underwater aging was fresher than the ones on the ground, arriving at the same conclusion as Leclerc Briant. Winemaker Bruno Lemoine at Château Larrivet Haut-Brion in Bordeaux, France also heard a lot about undersea wine storage. To explore himself, he chose the tannin-rich 2009 vintage and built two 56-liter mini barrels. One of them was named "Tellus (Goddess of the Earth)" for traditional storage in a wine cellar, and the other one was named "Neptune (God of the Sea)" for storage at an oyster farm in Arcachon Bay. The depth was determined at the zero point of ebbing. The wines were bottled and the results were impressive. The wines stored in the underwater Neptune demonstrated more refined tannins and a gentle touching. Located in Grave Bordeaux, Château du Coureau also produced a white wine called Le Blanc des Cabanes, which had been placed in Bassin d'Arcachon on the southwest coast of France. Like oysters, the wine was placed at sea bottom for seven months. The product features an enriched fruity aroma and mineral touch, with a smooth and silky texture.

[ WINE ] Currently, there are still no systematic research and conclusions about

Surprisingly, even ChĂ˘teau Margaux, one of Bordeaux's first growth

the effects of undersea aging on wine. Based on the current experiment

wineries had also conducted secret research and experimented on one-

results, it appears that the stable low temperature, dimness, 100% humidity,

piece corks, synthetic corks, and metal screw caps for as long as over

nearly anaerobic environment, and greater atmospheric pressure undersea

a decade. In 2012, the late former managing director, Paul Pontallier,

can reduce the speed of oxidation in the bottle excluding the effects of

who passed away in 2015, had revealed that metal screw caps lined with

violent tides and ocean currents. Based on such beliefs, the Yamazaki

saratin were consistently praised in comparative blind tasting over the

Distillery in Japan sent six whisky to the International Space Station to test

past decade.

how the liquor would age under an even lower temperature and gravity-free state. The distillery had planned to retrieve the liquor after two years, but no updates are available at the moment.

T h e End o f Natu ral Corks? Back to the world of wine, the controversial issue of screw caps and corks must be mentioned in discussing the various experiments and

However, the use of corks still cannot be fully replaced, as they present wines with a sense of nobility andritual. More importantly, the long-term effects of metal screw caps on wine aging still cannot be fully determined at the moment. As Paul Pontallier rigorously expressed, the wines from ChĂ˘teau Margaux often need several decades to reach its peak in bottles. Ten years is far from enough to make the final conclusion.

breakthroughs at wineries. According to a market research report by Melanie Cressman in 2019, the proportion of one-piece corks in the global market has decreased from 34% in 1999 to 10%, and alternative closures have now become the mainstream in the market. Among them, screw caps account for 32% of the wine bottles around the world. The usage of screw caps has far exceeded that of traditional one-piece corks in Australia, the United States, and even the old worlds of wine production such as France and Germany. Metal screw caps are favored by the market mainly because they can prevent cork taint from forming a weird flavor in the wine. This compound, abbreviated as TCA, brings a humid, moldy taste to the wine. Although the industry worked diligently to reduce the occurrence of TCA from 5% to 1%, it is still impossible to fully avoided even applying the best quality corks. Furthermore, metal screw caps have a lower cost and do not require tools to open. They may even be able to prevent bottle sickness, which often occurs during the initial stage after bottling. Located in Chablis, Domaine Laroche is an advocate of metal screw caps. The owner believes that metal screw caps not only eliminate the occurrence of TCA, but their lower oxidation level also enables wineries to minimize the use of sulfur dioxide during winemaking to keep the wine fresh. After spending nearly 20 years studying the issue of corks, the famous Domaine Ponsot in Burgundy also chose to adopt Ardea Seal Corks made from highly technological synthetic materials in 2008. The former owner, Laurent Ponsot, believed that the greatest issue with corks lay in its uncontrollable randomness. A same label of wine made by the same winery in the same year may develop widely different characteristics after lying down for a few decades, even when they are stored in the same cellar next to each other. Some bottles become great wines while others remain ordinary. In contrast, Ardea Seal Corks can control the annual amount of oxygen that enters the bottle to be 1% of an adult's breath intake, which largely reduces the differences caused by the corks' randomness.

Wineries around the world are conducting all kinds of experiments with their own methods. However, even if Leclerc Briant produces an unprecedentedly impressive wine by fermentation in 24k gold barrels, it does not mean that stainless steel and oak barrels should be eliminated. Veuve Cliquot's undersea cellar collection may perform better in the triennial evaluation every time. However, this does not imply that changes in the undersea cellar collection would continue to outcompete traditional cellar aging after 30 and 40 years, nor does it mean that all wines could perform better after undersea storage. While Laurent Ponsot transitioned to using Ardea Seal Corks, ChĂ˘teau Margaux has continued to use one-piece corks to this present day. However, is it not of this diversity and unpredicatability that makes wine so fascinating?

漂泊遊子的浪筆濃情－沈耀初 THE HEART OF A VAGABOND ： THE WORKS OF SHEN YAO-TSU Text / 周媛玲 Connie Chau

Photo / Ravenel International Art Group

▲ 藝術家沈耀初 Artist Shen Yao-Tsu

沈耀初曾自嘲為「一個流浪學生」，在生活及藝術創作過程中掙扎求存。有人說，艱難的時代孕育非凡的傳奇。沈耀初無疑從他艱苦的一生尋找到屬於自己的道路，創造了 20 世紀的代表之作。沈耀初，福建詔安人，1907 年生於西南郊外的仕渡村，故取號「士渡人」。沈耀初回顧他的藝術學習過程，由於家境清貧，少年的沈耀初雖然身體瘦弱，要打工補貼家計，卻餘裡偷閒，在廟前沙地繪畫作樂。他的繪畫天分卻被「詔安畫派」老畫家沈鏡湖賞識，因此正式開始拜沈鏡湖為師，展開藝術學習的路途。沈耀初對藝術創作的狂熱，讓他勇於探索不同的藝術風格，而當時的上海正吹著一股創新又革命性的藝術潮流。「上海畫派」以粗曠豪放的線條描寫山水人物，與「詔安畫派」同源，來自明清畫派。深受沈耀初敬仰的藝術家正是「上海畫派」的吳昌碩，追隨金石派的風格，卻不忘「詔安畫派」的簡樸用色，因此沈耀初的畫作承襲「上海畫派」的剛健凝練及「詔安畫派」的淡雅用色，也形成沈耀初畫作蒼鬱拙凜的獨特韻味。

[ CHINESE PAINTINGS ]

濃情思念藏自丹青墨藝 20 世紀初持續的戰爭動亂令沈耀初的家鄉深受戰火的蹂躪。為了探索藝術機會及重建家園，1948 年的冬天，沈耀初隨著漳州人來台開辦第一次在台畫展及學習農業技術，沒想到這就獨自展開了一趟的旅途，將遠別妻兒四十年。性格內斂孤僻的沈耀初在台灣過著簡樸窮困的生活，面對著生活上滿途的荊棘，沈耀初回家不斷作畫，往往把內心的濃情思念投放於藝術中。自 1948 年來台，沈耀初一去闊別家人四十載，1982 年終於回鄉，短暫的旅程，卻充滿無盡的不捨。沈耀初在家書上寫道：「就此再上征途。一路上淒風苦雨，伴著離人的眼淚，終於下個不停。此時的我，猶如一隻失巢孤飛的倦鳥。太陽要下山了，四顧茫茫，又將飛向何方？」簡短的文字，盡數心中孤獨鬱悶的情懷。羅芙奧 2020 年春季拍賣會拍出的巨大尺幅《晚霞飛雁圖》為藝術家晚年最重要作品之一。作於 1985 年，此作品深深表達帶著疲倦孱弱的身軀，遠離親人家鄉的沈耀初晚年的鬱悶思鄉情懷，以遠渡歸鄉的鴻雁表達藝術家思鄉的心切。畫中夕陽西下，餘霞成綺，一群野雁踏上歸途，重返家鄉。在遠征的路途中，藝術家同為遠渡的旅者，飛雁有伴依歸，自己卻孤獨凋零。獨自渡海來台的沈耀初觸景生情，利用簡樸蒼拙的線條，勾畫出沉重笨拙卻自由躍飛於天際的野雁，寄情野雁的思鄉之愁洋溢在畫面上。巨大的尺幅，濃厚的思念之情，成為沈耀初晚年最具標誌性的畫作之一，更創下最高的藝術家拍賣紀錄。

淡泊田園獨享戲墨樂趣沈耀初自少瘦骨嶙峋，隻身來台在教職的事業上輾轉於不同學校任教，勉強補貼生活，過著簡樸窮困的生活。喜歡藝術的沈耀初把創作變成生活上的解脫，性格孤僻內斂的他更把感情投放於田園生活上。1966 年退休後隱居於寂靜的田園，以筆硯為伴，在萬丁園專心研究繪畫風格，從臨摹古人到以自然為師，過著清閒逍遙的老年。沈耀初在一幅畫中曾經寫道：「淡飯粗菜亦陶陶」。這句話正正透露沈耀初對淡泊生活的追求。自詔安時期，沈耀初的藝術題材離不開農村禽畜、花草樹石，平平無奇的鄉村題材，卻透過敏銳細微的觀察與靈活的筆法，為平庸的題材賦予生命力。他的雞畫被稱為「沈雞」，最為生動傳神，有時候雞畫供不應求，連眼睛都還沒點上就被人取走，這類畫作更取了另外一個名字「沈半雞」，從中可見眾人都被沈耀初的筆韻魅力迷倒。

▶ 沈耀初《晚霞飛雁圖》1985 水墨設色紙本立軸 368 x 180 cm 羅芙奧台北2020春拍「翰墨丹青–中國書畫」專場成交價 TWD 1,020,000 Shen Yao-Tsu, Geese Returning Home, 1985, Ink and colour on paper, scroll, 368 x 180 cm Ravenel Spring Auction 2020 Refined Brushwork: Fine Chinese Paintings Sold for USD 34,506

羅芙奧自 2019 年於春季與秋季拍賣會上拍沈耀初的作品，其中以雄雞及靜態繪畫題材最受歡迎。2020 年春季拍賣會上拍的《全家福》描繪公母雞互相依偎，情深對望，猶如一對結髮夫妻，在旁的小雞歡喜追逐，家庭裡熙熙融融的情景洋溢於畫面。畫中描繪的是一個最理想的家庭生活，也正正與沈耀初孤獨伶仃的處境形成極大的對比。另一幅於 2019 年春季拍賣會挑選的《籬落雙雞》以長幅的畫面，稀疏的竹籬與下垂的秋葉，襯托下方的雙雞相依，雄雞轉頭與觀眾對望，環看四周，蓄勢待發，準備保護母雞。

艱難時代造就不撓傳奇雖然個性沉靜隨和，沈耀初的用筆卻大膽豪放，對藝術勇於追求突破，而這種性格呈現於他的作品上，也為沈耀初的藝術呈現一種豪邁中帶沉穩的感覺。1973 年沈耀初應姚夢谷先生的邀請於國立歷史博物館展出其作品，隨即受到台灣廣泛民眾的愛戴，隔年更得到中華民國畫學會的最高榮譽金爵獎。晚年隱居深山孤獨耕耘的藝術家終於得到世人的了解與肯定。這位默默耕耘的藝術家，以堅持不懈的精神成就 20 世紀台灣藝壇發展的重要成員。

Looking back to his past, Shen Yao-Tsu described himself as a vagabond who went through numerous obstacles in his life and his art education. As the adage goes, hard times create strong men. Through the hardships he faced, Shen Yao-Tsu created monumental art pieces that were representative of the 20th Century. ▲ 沈耀初《全家福》1979 水墨設色紙本鏡框 80 x 61.5 cm 羅芙奧台北2020春拍「翰墨丹青–中國書畫」專場成交價 TWD 250,000 Shen Yao-Tsu, A Family Photo, 1979, Ink and colour on paper, framed, 80 x 61.5 cm Ravenel Spring Auction 2020 Refined Brushwork: Fine Chinese Paintings Sold for USD 8,457 ▶ 沈耀初《籬落雙雞》1978 水墨設色紙本鏡框 135 x 39.5 cm 羅芙奧台北2019春拍「翰墨丹青–中國書畫」專場成交價 TWD 216,000 Shen Yao-Tsu, Two Chickens Behind the Fence, 1978, Ink and colour on paper, framed, 135 x 39.5 cm Ravenel Spring Auction 2019 Refined Brushwork: Fine Chinese Paintings Sold for USD 6,835

Shen Yao-Tsu, sobriquet Shidu Ren, was born in the Shidu Village of Zhaoan in Fujian. Despite having poor health conditions, the young Shen had to work in harsh conditions so as to fulfill his family's needs. He would sketch at leisure on the sandy ground outside the temple. His talent soon reached the ears of Shen Jing-Hu of the Zhaoan School of Art, and thus Shen Yao-Tsu became one of his students. His passion in art led through his exploration of revolutionary art trends of the early 20th Century. Amongst them was the style of Shanghai School with rough brushstrokes. Shen Yao-Tsu began to paint with the prowess of Wu Chang-Shuo and the lightly coloured Zhaoan School, hence the unique style of Shen Yao-Tsu was formed.

IMMENSE EMOTIONS HIDDEN IN THE BRUSH The 20th Century was raged by the rubbles from war. With an aim to promote art and to rebuild his homeland, Shen Yao-Tsu set off to Taiwan in the winter of 1948. Never could he realize that this journey embarked on his 40-year solitary life away from his family. Since then, Shen YaoTsu led an austere life of destitution. Painting seemed to be the only comfort he could find, thus his works showed hints of immense emotions.

[ CHINESE PAINTINGS ]

After 40 years of vagabond life in Taiwan, Shen Yao-Tsu returned to Zhaoan in 1982 for a short stay which brought him tremendous misery. A letter to his family reads, "Here I set off again. The whispering wind and pouring rain accompany the running tears of a vagabond. Currently I feel panic as a bird away from its nest at dusk. Where should I go now?" This short excerpt reflects vividly the emotion of a loner. Geese Returning Home auctioned at Ravenel Spring 2020 was one of the most significant works of the artist. It was painted in 1985 hinting the dreadful emotional state of the tired and feeble Shen Yao-Tsu. The scene is at dusk, when a group of geese fly towards home. Both vagabonds were away from home, yet the geese had companions while the artist was alone. His solitude was reflected by simple bold strokes on a large-sized painting, enhancing the magnitude of sorrow. The immense impact of the painting contributed to the artist's record-breaking price ever sold in auctions.

PLEASURE OF PAINTING IN HIS RETREAT The weak and feeble Shen Yao-Tsu struggled to settle alone in Taiwan as a teacher with a meagre income. With a burning passion in art, Shen Yao-Tsu found comfort in painting and in his secluded cottage. Since his retirement in 1966, he led a solitude life with his brush and ink, copying ancient scrolls and composing life drawings in his cottage. An inscription of one of his paintings "A happy life with rice and vegetables" fully depicts his satisfaction over his austere life. Since the Zhaoan period, farm animals and plants were his primary subjects of depiction. He was known to enliven ordinary objects in his works. His chicken paintings "Shen Chicks" were vivid and well sought-after. His paintings were so popular that they were already taken away, before the eyes were drawn on the chickens. Such paintings even had a name "Shen Half Chicken". Ravenel has offered several outstanding paintings of Shen Yao-Tsu since 2019. His chicken and still life paintings received enormous attention from the public. A

Family Photo , sold at Ravenel in Spring 2020, depicted a rooster and a hen crouching and looking at each other lovingly as a married couple. Little chickens scrambled around chasing one another. This portrays a merry family gathering which contrasts greatly with the solitary life of the artist. Another oeuvre, Two Chickens Behind

the Fence , sold in Spring 2019, was a long scroll depicting an autumn scene. In the painting, the rooster stands alert as it turns its head to look back at the audience, ready to protect the hen.

A LEGEND IN THE HARSH TIMES Contrary to his timid image, Shen Yao-Tsu's brush was bold and ferocious, reflecting his character that was hidden inside his feeble body. His persistence in art and breakthrough led to Yao Meng-Gu's visit. In 1973, the talent was discovered and Shen Yao-Tsu was invited to organize a solo exhibition at the National Museum of History in Taiwan. This initiated a warm applause from the public and the artist received an Honorary Award from the Art Society of China the next year. His art was finally recognized after a lifetime's persistence and devotion, and Shen Yao-Tsu became one of the prominent Taiwan artists in the 20th Century.

Text / 劉允華

Photo / Ravenel International Art Group

[ LUXURY ] 自從上個世紀下半葉起，彩鑽贏得收藏家的青睞後，數十年來榮

On the other hand, in a more comprehensive report, Leibish & co.

景不斷。由彩鑽調查機構 FCRF 對過去十年進行的研究表示，彩鑽的價

compared the return rate between colored diamonds and many popular

格始終維持穩定成長。這段期間裡，藍鑽的價格成長達 81%，粉紅鑽

investments, including bouillon, precious metals, mainstream currencies,

更有增值 116% 的驚人表現。儘管在 2019 年第四季時，我們見到價格

American liquidities, stocks and bonds, even white diamonds.

上漲遲滯甚至微幅下跌的現象，但 FCRF 顧問 Jim Pounds 認為，這不過是白鑽價格大跌之下的漣漪效應。而就算納入第四季的表現，彩鑽在 2019 年的整體價格依然穩定上漲。換句話說，在以鑽石為領軍的寶石市場遭遇危機之時，彩鑽實際證明了自己相對抗跌的實力。

As shown in its results, at least in the years of 2000-2012 which is observed by the report, that whether the pink diamonds with its price increased by 443%, or the more conservative blue diamonds with 350%, the colored diamonds is undeniably superior in regards of their value

另一方面，在一則更為全面的調查報告裡，Leibish 公司以彩鑽為

maintenance. This report affirms the position of colored diamonds on

中心，廣泛比較各種熱門投資標的的報酬率，包括金條、貴金屬、主要

the market as a whole while reminding the readers to include colored

貨幣、美國通貨、一般股票與有價證券，甚至同為一類的白鑽等。結果

diamonds in their long-term investment suite.

證明，至少在研究涵蓋的 2000-2012 年間，無論是強勢漲幅達 443% 的粉紅鑽，或漲勢較低但也有 350% 的黃鑽，比起其他投資標的而言，都具有毫無疑問的保值優勢。這篇報告的結論肯定了彩鑽在整體投資市場上的地位，同時也提醒讀者應將彩鑽納入長期的投資組合。

From these two pieces of research which link to each other in terms of time periods, and considering the fact that the Ellendale mine which provides 90-95% global volume of pink diamonds ceased its production at the end of last year, but also the Etaki mine in Canada switched from

由以上兩則彼此銜接的調查結果，加上供應全球粉紅鑽 90-95% 產

open mine to tunneled mining with the effect of diminishing production,

量的 Argyle 礦區於去年底停產，以及供應近半黃鑽的 Ellendale 礦區停

the Ravenel International Art Group would suggest that the market

滯、加拿大 Ekati 礦區由開放式轉為礦坑型態降低預期產量等因素，羅

should maintain its confidence towards the investment value of colored

芙奧精品部認為，市場對彩鑽在 2020 年的投資價值，將會具有相當的

diamonds in 2020.

信心。

Hence, even in the ever-changing 2020, when a large part of auctions

正因如此，在時局劇變的 2020 年間，就算在無法親臨的線上拍賣

turned online, the colored diamonds are still leading the trend. In retails

會中，彩鑽依然獨領風騷。通路盤商與珠寶飾品業者已經見到千禧世代

and jeweler, we can see the Millennials are more and more interested in

對彩鑽飾品的興趣不斷提高，珠寶師的供應商也表示，連以往較不熱門

accessories with colored diamonds, suppliers also attest that even the

的鑽石色系銷售都正逐漸加溫。而在逐漸恢復現場盛會的高端拍賣市場

diamonds with traditionally unpopular colors are going up in sales. And

上，本月 9 日與 10 日，在香港的兩家拍賣公司，分別以 1590 萬美金售

in the high-end auction houses which see the off-line gatherings' return,

出 12 克拉藍鑽，以及以 1860 萬美金售出兩枚粉紅 / 藍鑽心型對戒，雙

as recent as 9th and 10th of July, two houses make their records in Hong

雙創下紀錄；本月 22 日，在日內瓦的拍賣場上，由 Reza 製作的藍鑽與

Kong with a deal of 12 karats blue diamond by 15.9 million dollars,

白鑽戒也以 920 萬美金賣出，成為該場拍賣的領銜品項。

and another of a pair of red and blue heart-shaped rings by 18.6 million

綜合各種因素，羅芙奧精品部認為，無論今年以來多少顛簸，市場仍能逐漸找到屬於自己的方向。若要在其中尋找足以信賴的投資標的，彩鑽的歷史與近來表現依舊值得注意。 From the second half of the last century, and after the colored diamonds begin to stand in the spotlight for the collectors, time has treated them well all through these long decades. From the research institute FCRF comes a study for the last decade, which claims that the price of colored diamonds keeps growing steadily. In this period, the

dollars. On the 22nd of July, at an auction in Geneva, a ring with blue and white diamonds made by Raza is sold by 9.2 million dollars, which became the leading item of the day. All things considered, the Ravenel International Art Group concludes, that even with all the difficulties in this fateful year, the market is still able to find its own way. When searching for a reliable item of investment, the history and performance of colored diamonds always leave something to be desired.

price of the blue diamonds increased by 81%, and the pink diamonds perform even better with a whopping 116% growth. Although we saw a relented price or even some small decrease in the 4th season in 2019, according to FCRF consultant Jim Pounds, this was only due to the ripple effect caused by the deep drop of white diamond's price. And even if we include the performance of this 4th season, the price of the colored diamonds is still increasing steadily in 2019. In other words, when the gem market encounters its own crises led by the diamonds, the colored ones are still able to prove its resistance towards the decline.

◀ 2.64克拉雷迪恩明亮形正彩粉紅色VVS1鑽石配鑽石戒指 A 2.64 CARAT RADIANT-SHAPED FANCY PINK VVS1 DIAMOND AND DIAMOND RING ◀ 2.76克拉心形濃彩綠黃色鑽石配鑽石戒指 A 2.76 CARAT HEART-SHAPED FANCY INTENSE GREEN-YELLOW DIAMOND AND DIAMOND RING ◀ 5.11克拉雷迪恩明亮形正彩黃色VVS1鑽石配鑽石戒指 A 5.11 CARAT RADIANT-SHAPED FANCY YELLOW VVS1 DIAMOND AND DIAMOND RING

熔融折射，亞洲奢旅新風潮 Fusion Prismed Through Décor 融合風格當道，透過建築、設計與人文、歷史，一同見証；一趟亞洲奢旅，帶你窺其堂奧。

RWBKK 透過特定元素與用物回應 A sense of place 主題

Text / Joseph W

Photo / Bensley Studio, Rosewood Bangkok, CHAO Beijing, Joseph W

[ CUISINE ]

美泰雙人體現跨域 Shinta mahni wild by bill bensley & jirachai rendtong

Shinta Mani Wild - Bensley Collection +855-63-964-123 https://wild.bensleycollection.com/

[ CUISINE ]

柬埔寨西南隅，濱臨暹羅灣的廣大地域是一片原始雨林，自上世紀末始，便陸續設有波哥 (Bokor)、樂山 (Kirirom) 與豆蔻山 (Cardamom) 等三座國家公園，而話題性十足的豪華生態野營 (Glamping Safari) 度假村，Shinta Mani Wild，坐落三不管地帶，以 Shinta Mani 同名基金會與社會企業領銜，與柬國政府與大學機構，終結盜獵濫伐，希望藉低密度開發但高度私密的奢旅，攜手保育多樣性生態原始林 ww。這片雨林細長，佔地三百五十公頃，地形崎嶇多樣，以豐富又脆弱的自然生態為美，並且為柬國野生大象、長臂猿棲息地之一。時代雜誌 (Time Magazine) 封為異國奢華度假村之王的美籍建築師 B i l l B e n s l e y ，身兼業主，與其泰籍伴侶與地景師 J i r a c h a i R e n d t o n g 深深為這片蓊鬱雨林所吸引，不單致力保育此林，更揉合賈姬 (Jacquline Kenedy) 所著迷的六零年代柬國風華與上古高棉帝國輝煌，融合至十五間豪華野營帳篷中。一對頑童愛侶不掩對柬國大地的鍾愛。「我們自九零年代開始，便參與見證柬埔寨如何從創傷中自立，而 Shinta Mani 基金會與同名飯店品牌，致力社群再造、產學結合，與柬國文化再興。我們希望這舉世無雙的度假村，能另闢新域，讓旅遊產業思索獵奇與剝削以外的可能。」。擘劃整地之初便不伐一木，保留完整植被與生態，十五座格局相同，但主題各異的帳篷，體現 Bill Bensley 過人識見。 ◀ shinta mani wild 不伐一木，低度開發但高度設計的全新建築理念 ▼ shinta mani wild 叢林裡從夢境般幻化出的不可思議

而提及設計啟發與靈感，Bill Bensley 與 Jirachai Rendtong 深受中南半島與中美洲繽紛美學影響，並透過提煉在地文化、歷史來汲取素材，巧運惠心展現在建築與裝修上。關於融合，他們的觀點也一致：「讓不同時代或是文化得以對話。但最忌誤踩文化地雷。」因此如何跳脫設計本位窠臼，深入淺出，讓賓客與業主能共同感受異文化主體性，考驗著建築師或設計師功力。

◀ Shinta Mani Wild 奢華新境界

暹羅秀雅台灣之光 Rosewood bangkok by celia chu

Rosewood Bangkok 1 0 4 1 3 8 P h l o e n C h i t R d , L u m p h i n i , P a t h u m Wa n D i s t r i c t , B a n g k o k 1 0 3 3 0 +66 2 080 0088 h t t p s : / / w w w. r o s e w o o d h o t e l s . c o m / e n / b a n g k o k

[ CUISINE ]

處處華美又邸寓風格強烈的香港瑰麗酒店 (Rosewood HongKong)，是許多飯店迷對品牌的第一印象，但在曼谷市中心，甫開幕便以細雅設計與殷勤服務引來佳評，且獲國際室內設計協會 (IIDA) 獲頒 2019 亞太區最佳酒店設計大賞的曼谷瑰麗酒店 (Rosewood Bangkok)，或許更能以其當代暹羅婉約，恰份詮釋品牌精神，A Sense of

# Designer Celia Chu

Place® 風情醉人，不得不歸功來自台灣的女性新銳設計師，朱怡芬 (Celia Chu)。步入曼谷瑰麗酒店，無論是迎賓大廳裡覆金玻璃牆吸睛，扇形水晶燈垂降雍容，全日餐廳 La Korn 蔓草飾板清雅，到套房內浴室內焰紋飾磚華麗，不見尋常泰國風情賣弄，更多是文化精煉融熔後的設計語彙。Celia Chu 另闢蹊徑，擷取傳統泰國符號，多次與世族業主 Shinawatra 姐妹討論後，將傳統屋瓦、宮廷舞者配用指套與摺扇，大皇宮泥金藻飾，透過當代視角，穿越今古，詮釋泰國原生風格神髓。 Celia Chiu 別有所感。「除了關注風格與賓客體驗，打造曼谷瑰麗酒店，讓我深深體會如何透過業主與當地社群，超越融合與設計本位，貼近文化，褪形入髓，透過體現於建築與室內裝修，外在環境與當地文化的共鳴，體現融合。」 ◀ RWBKK La Korn 餐廳歐亞兼容 ▶ RWBKK 從傳統泰式屋瓦提煉的泰國風情 ▼ RWBKK 狀似歐化，但實則更貼近泰國觀點的現代泰國詮釋

此底圖為大皇宮紋樣

法中對話今古交融 CHAO beijing by william latour

CHAO 華洋融合的新中國風風格

CHAO Beijing 中國北京市朝陽區工人體育場東路 4 號 +86 10 5871 5588 h t t p : / / w w w. i l o v e c h a o . c o m /

[ CUISINE ]

▲ CHAO 將當代舒適與明代璞雅熔治一爐

CHAO 酒店矗立在三里屯繁華中，以強烈現代化的

酒店總經理 W illiam Latour 與主建築師 Meinhard

幾何設計，自開幕以來便是北京目光焦點。由知名德

von Gerkan，反向演繹十八世紀中式想像風格

國建築團隊 GMP Architekten 操刀，翻新原有 90

(Chinoiserie) 概念，平行移植中世紀狩獵風格到了

年代建物，化運幾何，大器揮灑於建物外觀與室內，

北京。

透過當代簡約與明代璞雅對照，並奢侈規劃藝廊與活動空間，讓華洋新舊，能自適在北京並陳互語。師法自然，素材見長，CHAO 酒店有別當代中國酒

CHAO 酒店華洋合璧風格，自籌備階段便參與設計與營造的法籍酒店總經理，William Latour，難掩對異文化與當代亞洲熱愛。論及融合，這位資深飯

店矯飾鋪排或刻意清冷，透過中性色皮革羊絨，與華

店人別有看法：「 C H A O 本身就是融合風格的代表，

北常見黃銅櫸木，堆疊層次趣味。走入大廳，挑高天

無論是酒店名或潮或巢的解釋，到透過當代西方融

花飾以羊絨溫柔宛如熱河皇帳，而吸睛長廊則地覆

合北京元素，令人穿越時空與明代中國產生連結，

胡同門板，四處則錯落當代知名傢具。主餐廳則是

這都是體現融合的本義。」

▼ CHAO 更新定義潮與巢

古痕新

意・建

建築 x 時尚 x 藝術歷史建建築如遊走在然而隨逐年折

築以當

同城市

設計及

著時代

代的觀

發展的

藝術之

推演，

點切入

刻痕，

間，構

每棟建

重啟，

記錄著

成了無

將以不

人類生

數美好

同的生

命向度

活的進

的空間

程，場景。

損衰敗築在完也是必成了階然之勢段性任一選項。將其務後，，歷史剷可以呼平後重建築的應經典砌基新底蘊涵屋，品牌的植入當著時間歷史定代的設的維度位，亦計視野，可成為，歷史典藏藝建築已 Text / 品的容逐步重蕭志中器。獲新生 Photo 。 / 蕭志已非唯

中, Pra

築翻身

重生。

西方建築大師：雷姆．庫哈斯 Rem Koolhaas 建築：普拉達基金會 Fondazione Prada 2018 OMA（Office for Metropolitan Architecture）設計的米蘭普拉達基金會（Fondazione Prada）於 2018 甫開幕即成為鎂光燈焦點，重磅時尚品牌固然是原因之一，然而體驗這位 OMA 設計團隊的領銜建築大師－雷姆．庫哈斯，如何在這歷史酒廠中調配出新的滋味，則更讓人鶴立企佇。普拉達基金會座落於離米蘭市區稍遠的工業區內，從建築對街的視角望去，在斑駁、水平向度的歷史建築群盡頭，一座純白的現代塔樓拔地而起，這對比強烈的畫面挑動著喜愛藝術、設計者的味蕾，也揭示了此案在歷史與當代之間不尋常的衝突平衡。

在整體的計劃中，共置入了三個物件，一棟展覽館，一座塔樓和一間電影院。與歷史建築組成了十個空間的藝術園區。展覽館的接待中心是一令人無法忽視、相當顯眼的金色建築，相較旁邊以金屬發泡鋁板（Aluminum Foam）打造的展覽館，在新的空間，使用仿古的質感。卻在歷史建築漆上新的塗料，可謂把玩新舊材料、型式的起手式。外露的鋼樑結構，絲毫不掩飾新舊建築的衝突，斜置於通道中的樓梯及網狀橘紅的欄杆，則點綴了叛逆的調性。而傾斜元素也重複的出現於不同空間，猶如蒙太奇般的敘事手法，物件重複在不同場景及尺度呈現，使遊走其間的參觀者可以自行探索、拆解其中隱藏的符碼。整個園區的核心空間設置了電影院，長向兩側可以因應進退場靈活開啟。建築東側立面，全鏡面的設計讓視野得以無限延伸，映在鏡面上的歷史建築場景以虛體的方式延展，身在其中仍感受到電影院的存在，但內心在空間上的感官已豁然敞開。在園區的任何角落仰天望去，這坐落於園區西北角六十米高的白色塔樓，也將新舊的反差帶入了高潮，成為園區天際線最戲劇化的轉折。樓層高度從底層的二點五米到頂層的八米逐層增加，各層平面由矩形及梯形交疊，這一系列的展覽與餐廳的空間，也因此有其獨特的空間尺度而創造了無法複製的場景。三個空間物件，嵌入此歷史建築群中，在材料及造型上，以翻轉的姿態回應歷史建築場域的紋理。雷姆．庫哈斯建築師在此案扮演一個穿越時空的前衛導演，他不甘於順應歷史，跳出框架，讓新舊在此一時刻相互衝撞與對映，而觀影者也樂於在場景中扮演著不同的角色，感受每個轉角帶來的驚喜。

埋設於藝術館核心的立體清水混凝土方盒，其空間尺度穿越了上下樓層展間，提供了當代大型展品的展出彈性，觀者亦可因此以不同的視角體驗藝術。過去一堵一堵的厚重磚牆分隔的空間成為了展覽場所也定調了參觀動線，而恢復斑駁磚牆的粗糙質感也與清水混凝土俐落、光滑、且筆直的線條呈現強烈的對比。圓弧的窗型如同時代的印記，除了是藝術品最佳的背景外，也成為視覺穿透的框景，眺望整個海港風光。不在歷史建築外添加建築量體，在原有木質桁架和紅磚牆架構的空間場景中，置入純粹幾何的清水混凝土元素，以洗鍊、極簡的手法，回應歷史脈絡，將其轉化為承載藝術品的容器。安藤忠雄建築師如同一深居山林的泥塑匠人，反覆雕琢，淬鍊出無可挑剔的極致美學。行走於其間，不知不覺沉下腳步，感受光影在空間的變化，撫摸歷經風霜的磚牆，體驗與之相映的藝術品，不亦快哉？

歷史建築的華麗轉身時光的流逝不可逆，歷經時間洗禮的建築殼體，經過重新植入機能而被賦予不同的價值。除了在空間使用上獲得新生，建築也不再是一次性的淘汰品，材質、結構、空間在每一次的翻修後被重新定義，建築亦得以永續經營下去。歷史建築不論是在東方或西方，也不論是增加或是削減空間，都來自於使用者對空間的想像以及設計者對空間調性的抉擇，在經歷與場域深刻的對話過程後的重塑，成就了歷史建築華麗的轉身。

東方建築大師：安藤忠雄 Tadao Ando 建築：海關現代藝術館 Punta della Dogana - 2009 海關現代藝術館的前身由建築師朱塞佩・貝尼（Giuseppe Benoni）設計並於 1682 年完工，該建築直到 1960 年前一直是海關大樓，夾於大運河和朱迪卡運河之間，被賦予商業、交通的重責大任，與威尼斯的歷史有著密不可分的連結。在廢棄了二十年後，經由安藤忠雄建築師操刀改造之後，以藝術館之姿重現，這絕佳的選址與當今威尼斯觀光、藝術為主軸的產業結構一拍即合，其過往的商業機能發揮當代藝術港口的作用，成就了與世界分享藝術的夢幻場所。建築設計依循著三角形的基地建成，內部由八道平行的磚牆撐起了主要結構，同時也定義了內部的空間序列，屋頂由木質桁架支撐，呈現緊密的節奏相互跟隨。安藤忠雄以清水混凝土為主要建材並以極簡設計詮釋東方禪學聞名全球，在面對這具有歷史力度的建築，他以相當謙遜的手法回應。大比例的恢復舊有的建築結構，讓木質桁架外露，並局部開設天窗引入自然天光，藉由光線忠實呈現了木桁架及磚牆面的歷史痕跡。

的街頭藝術

DNA

[ SPECIAL REPORT]

Text / 伊森

Photo / FENDI

FENDI 羅馬總部屋頂天台彷如一場接一場的街頭藝術接力，重申其與塗鴉藝術之間獨一無二的密切關係。 2 5 歲的 M r. D o o d l e 純真、有趣又詼諧的個性，用一種極為獨特的方式宣洩了他的繪畫強迫症。只是這回他把 FENDI 羅馬總部天台當作畫布。

倫敦藝術家 Sam Cox（又名 Mr. Doodle）以獨特塗鴉繪畫風格著稱，運用手中的黑色麥克筆，在牆面、房間、家具、車輛、建築物和任何他能拿到的東西上，繪畫出獨一無二的大膽線條。而他的最新力作則獻給了 FENDI。 FENDI 羅馬總部 Palazzo della Civiltà Italiana 的屋頂上和巨大的鏡面字母，拼寫出 FENDI、ROMA 及 FENDI 的雙 F「FF」主題圖案，還特別點綴亮眼的 FENDI 黃色。源源不絕的創意在 Mr. Doodle 的腦海中奔騰，他用手中的黑色麥克筆和塗鴉筆觸，以黑白兩色搭配點綴的 FENDI 經典標誌黃色，加上象徵性的紅色心形圖案，畫 FENDI 和 FF 主題圖案，以及一個又一個人物圖案，並且把所有圖案串連起來，猶如躍然而生。兩天的創作中，他按照不同的文字設計塗鴉圖案，並且把所有塗鴉圖案都連接起來，為黑黃兩色的塗鴉留下壯觀的圖案。一開始在鏡面桌面上塗鴉，畫筆就停不下來，不僅畫滿了 FENDI 羅馬總部的屋頂天台，還覆蓋了整座 Palazzo Della Civiltà Italiana。

[ SPECIAL REPORT]

Mr. Doodle FENDI 工作室搭配了一名年輕的裁縫 Caterina 縫著 Mr.

Doodle 的連身褲。她結合了多種剪裁技術及用在多種布料和材質上，創造出獨特的訂製作品，用出人意料的方式歌頌著工藝。手工製作的昇華，塗鴉藝術與 FENDI 的傳統激盪出美妙的火花。正如 Mr. Doodle 所說，F 代表著樂趣，加上他又是唯一一個曾在白色帆布 FENDI Peekaboo 包上塗鴉的人，他知道就算只有一枝筆，也能為世界注滿樂趣。這也促成 FENDI 與 Mr. Doodle 合作推出極為特殊的聯名系列。

Mr. Doodle Q&A

F 代表…樂趣 ! 我想很多藝術家都不想有趣，他們要嚴肅，希望人們認真對待他們。這樣也 OK。然而我覺得藝術創作也可以充滿樂趣。對我來說，藝術創作和畫畫是最有趣的事情，你可以享受這一點。我希望人們在看到我的作品時，也能充滿樂趣。

Q：FENDI 對您來說代表著什麼 ? 我覺得 FENDI 象徵著奢華的樂趣。

Q：在 FENDI 羅馬總部屋頂天台上塗鴉，是什麼感覺 ? 塗鴉是件很有趣的事，但是在 FENDI 羅馬總部屋頂天台上塗鴉，更是一件超特別的事，這個地方太棒了。來到這裡，看到這座如此雄偉的建築，讓我非常興奮。

Q：在跟 FENDI 合作進行拍攝時，現場有發生什麼趣事嗎 ? 進行塗鴉的第一天，我畫到凌晨兩點左右，不過我愛死了。我用巨大麥克筆在作畫時，也一邊播著超棒的音樂，每隔一段時間我會休息一下，從屋頂看看四周的美麗景色。屋頂一片漆黑，工作人員把燈光照在我畫的文字上。我看著鏡像字母的反射時，加上夜空和白色混凝土地板，看起來就好像是在月球上作畫一樣，超奇妙的，我不知道要怎麼說。

Q：最早什麼東西對你產生影響 ? 我想是電玩吧，我小時候很愛打電動，像是《超級瑪利歐》系列、《袋狼大進擊》系列和《寶貝龍》系列。我想用自己虛構出的角色和元素，打造一個專屬於我自己的世界。我發現自己真的很愛畫一些有趣的角色和圖案，電玩應該是最早影響我的事物。

Q ：什麼讓您為自己取名 M r. D o o d l e ? 大學的最後一年，我在衣服上畫畫，然後穿著這些衣服去上課。我的老師替我拍了一張照片，幫我取了個「Sam the Doodle Man」的綽號。後來我就叫自己 Mr. Doodle。我想大家可以很輕鬆把我跟我的作品連起來。

Q：你有幾支畫筆 ? 我大概一天要用掉四支，平均一週要用掉 28 支筆。我也會在手機和平板電腦這些數位裝置上畫畫，不過我更愛用實體的東西做畫。在公共場所拿出一本素描本時，就像是在陳述一件事。我出門旅行時，大家都會把手機拿出來，我便能在手機上畫畫。

Q ：在成為 M r. D o o d l e 之前，您是從事些什麼 ? 我畫了很多東西。其實跟現在差不多，就是幫 M V 做了很多動畫，喔，對了，還有漫畫書。我試了很多方式，這是我最熱愛的事情。

微型時尚高級訂製服 Text / 袁青

Photo / Dior

於線上發表 2020 秋冬高級訂製服系列，37 套全新設計均以「微型」服裝呈現，這種獨特的方式不但重塑高級訂製服引人入勝的精湛工藝，也勾起彷如回到迪奧先生當年的冒險之旅；在二戰後，集結法國時裝設計師特別設計的微型之作，至歐洲與美國各地巡迴展出，旨在復興法國時尚產業，並為戰爭倖存者募款。面對前所未有的「後疫情時代」Dior 女裝暨配件隱身於美麗背後，呈現的是一個藝術家與超現實主義的眼界。超現實主義下的女性肢體透過全新訂製的微型人台來詮釋，2020 秋冬高級訂製的微型人台被安放於外型宛若蒙田大道三十號傳奇宅邸的展示箱中巡迴世界各地。遙相呼應當年的「 T h é â t r e d e l a M o d e（時尚劇院）」展覽，捍衛著女性意識。 Dior 高級訂製工坊從日間採用男裝面料打造充滿立體結構與建築線條的 Bar Jacket 微型創作套裝開始，工藝精湛，媲美藝術品。大衣呈現

褶襉層次、飄逸垂墜剪裁令人聯想到古代神廟裡的神祉雕像；灰色與金色調和的璀璨，使衣裳如霞光閃耀。Dior 創意總監 Maria Grazia

C h i u r i 表示：「對於伴隨神秘及魔法而來的未來不確定性感到著迷。」這些極致精巧的微型作品全程手工縫製，讚頌高級訂製服不可或缺的美感創意。更維繫一個隨時間流逝而不會被遺忘的時代象徵。

S o p h i e

H o n g

當

時尚有夢

和美術館相遇

展覽｜法國洪麗芬（Sophie Hong）時間｜ 2020 年 3 月 14 日至 9 月 20 日地點｜法國北部魯貝（Roubaix）泳池藝術與工業美術館（Musée La Piscine Roubaix）。

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Text / 袁青

Photo / Lucien Lung. 蘇美玉. Sophie HONG Studio

今年年初，法國北部魯貝（Roubaix）泳池藝術與工業美術館（Musée La Piscine Roubaix）特別以「湘雲紗」為題，盛大推出 Sophie Hong 個展，重啟美術館對織品藝術的連結。今天，「湘雲紗」被視為「非物質文化資產」。 1988 年在香港百貨公司角落發現了流傳中國南方己有百年歷史的織品工藝之後，決心致力保存和發揚中華文化的根，從那天起，Sophie 洪的名字就和美麗的傳承「湘雲紗」藝術幾乎畫上等號。

穿梭台北和巴黎，近四十年，終於進了法國美術館，身兼畫家、金工、陶藝和服裝設計師的洪麗芬（Sophie Hong）說，算是送自己的一個禮物吧！提起「湘雲紗」，有點兒像遙遠，古老又帶著神祕的傳說。獅子座的洪麗芬 Sophie 笑稱，農曆七夕生日的自己是天命「織女」。台北永康街工作坊，剪了「妹妹頭」的 Sophie，和擺在布堆上仿她製作的戲偶，如出一轍，早己是她的註冊商標；選擇時尚作為創造力的出口，但始終心心念念圍繞著藝術。翻出早年自製拍攝的服裝畫冊，音樂家李泰祥、攝影家柯錫杰、藝術家莊普、文化人許博允、舞蹈家林秀偉、吳興國和建築師楊岸都成了身穿湘雲紗的模特兒；洪麗芬面對市場上對「湘雲紗」的一知半解，甚至魚目混珠；感嘆著說，這些國內外知名藝文界重量級人物的背書，就是她手裡不曾停頓的「湘雲紗」今天進得了法國工業美術館，被列為藝術項目的最佳見証呀！畢業於實踐家專服裝設計科，之後於東京文化學院服裝設計系、紐約（FIT）設計學院和巴黎高級時裝工會學校研習，洪麗芬選擇自宋代以來就已經存在卻幾乎被遺忘的「湘雲紗」織造和染色工藝，古人尊重用料自然和穿著者的自在，早己超越現今才正視的環保意識。「想在國際上立足，要認知自己和環境有利的資源是什麼？」Sophie 研發絲染，用薯莨的染汁澆勻在白胚絲布上，遵古法長時間利用陽光重覆曝曬，固色；之後再經過含鐵質的塘泥「過泥」建構出「湘雲紗」織品的特質和風情。這些天然古法的工序讓織布呈現深而不可測的黑、咖啡色，靛藍、深黑、赭褐、暗紅…，但卻隱藏著細微又豐富的色差變化，而且如此有機環保，尊重大自然。

Sophie Hong

[ FASHION ]

「湘雲紗」時而柔軟如天鵝絨，時而像皮革，具有粗糙的織物質感但卻輕盈。面對時裝界超乎想像的瘋狂流行節奏，這些視覺深沉，觸感特殊的古法織品，在洪麗芬簡潔大器的剪裁下，每一件都是無法複製的藝術品。尤其隨著時間自然流轉，所堆疊出各種色變，更添「湘雲紗」獨樹一幟的風韻！勇於突破，不受限框架的 Sophie 融合西方與東方、跨國界文化語彙的創作，於 1997 年得到法國巴黎服裝博物館（Musée GallieraMusée de la Mode et du Costume）永久典藏。被發揮到多樣貌極致的「湘雲紗」，正反、厚度、邊框和下擺、刺繡、鈕扣和褶皺，在豐盈的雙面色調下，不論男女剪裁，同樣以俐落、風雅的現代感性著稱。洪麗芬說，其實人體需要的服裝版型並不用多，她以早年就提出的寬褲型為例，這種裁剪的現代感和恆久性……，完全禁得起時間考驗；因為是藝術品，她鼓勵依據個人情感，喜好和需求自由穿搭。洪麗芬很自豪，不擔心撞衫；即便撞了，雙面色的「湘雲紗」反過來穿，都行。甚至如果衣衫破了，拿起筆畫幾筆來優雅地掩蓋，衣服跟著穿者慢慢演變，尋找出平衡與寧靜。這就是「Sophie 洪的流行。」 2012 年得到法國國家功勳騎士勳章（Chevalier de l'ordre national du Mérite）；同年在巴黎皇宮柯萊特廣場（Place Colette）舉辦一場生動活潑的個人服裝展覽 –"Sophie HONG à Paris" 將時尚推往生活化；致力融入巴黎日常生活氛圍的展演，在法國掀起一股 Sophie 洪麗芬的東方熱潮。今天，「湘雲紗」被視為「非物質文化資產」，足以彰顯 Sophie 洪在時尚藝術領域的時代地位和前瞻性。，以音樂和文學為創作養份的洪麗芬以時尚為本，文化為先，致力台法文化交流。對她來說，「湘雲紗」將乘著藝術的翅膀，繼續飛向世界…

的藝術小宇宙

[ LIFE ]

這一切成就了 Agnès B 重要的 DNA。 Agnès B 說：「這些作品代表了生命中的時刻、共享的情感和默契。如何在一件作品中找到觸動我們的事物並將其視為我們自身？所有這些作品構成的寶庫，我並不想抓住它們，而是透過喜愛來蒐集與豐富自己」。

位於巴黎法國國家圖書館旁，今年剛開幕的 La Fab，是法國服裝設計師 Agnès B 成立的藝術基金會，佔地 1400 米平方米的空間內，收藏展示著這位法國時尚圈女性設計師代表的收藏，包含油畫、雕塑、攝影、新媒體和裝置藝術等近 5000 件作品，展現她豐富的靈感來源與生活態度。 Agnès B 是位瘋狂的藝術愛好者與收藏家，這件事在時尚圈與藝術圈無人不曉，她熱衷於贊助藝術、表演、音樂和電影等文化活動，台灣民眾對於每年金馬影展 Agnès B 的聯名贈品與慈善映演必定不陌生，她的電影處女作《我的名字是 ...》(My Name Is Hmmm...) 也曾在金馬影展放映。

Place Jean - Michel Basquiat, 75013 Paris 門票：全票 7 歐，優待票 4 歐

La Fab-Fondation Agnès B

1984 年 Agnès B 開設了「白晝藝廊」(Galerie du jour) 與書店，成為了藝術與時尚愛好者的秘密基地，除了有系統性地收藏、保存、展示和推廣，也定期在世界各大博物館與藝術機構舉辦展覽，開啟她跨越時尚與藝術的獨特旅程，其中最為人所知的是 1997 年成立的 Love Streams 電影製作公司 (Love Streams agnès b. Productions)，名稱來自美國導演 John Cassavetes 的同名電影。攝影作品在 Agnès B 收藏中佔據重要的位置，2000 年在巴黎國家攝影中心 (Centre National de la Photograhie) 首展， 2002 年移師巴黎東郊的馬恩河畔諾讓藝術宮 (Palais des arts de Notent-Sur-Marne)，2004 年圖魯斯屠宰場藝術中心 (Les Abattoirs) 第一次大規模展出 Agnès B 的收藏。除了上述展覽之外，2008 年柏林攝影博物館 (C/ O Berlin)、2015 年里爾都會現代藝術博物館 (LaM)、 2016 年巴黎國立移民歷史城 (Cité nationale de l'histoire de l'immigration) 和 2017 年亞維儂蘭伯特收藏館 (Collection Lambert Avignon) 也分別舉辦了 Agnès B 的收藏展覽。 2017 年「白晝藝廊」正式吹熄燈號，因為 Agnès B 有更為遠大的計劃—La Fab，意思是「文化與團結工廠」(fabrique culturelle et solidaire)，地點位於巴黎 13 區的巴斯奇亞廣場，由 SOA 建築事務所 ( SOA architectes) 進行規劃設計，涵蓋博物館與書店，消息一出，立馬在法國藝文圈引起話題。

從大門進入，首先映入眼簾的是寬敞明亮的書店，販售 Agnès B 精心挑選的藝術書籍，左手邊則是展廳入口，打破了作品主題或時間順序的分類方式，展品隨機散漫地陳列在狹長的展覽空間內，就像是設計師蒐集靈感的 Mood Board 一般，但從中依然可以看出 Agnès B 的個人品味與喜愛偏好。從 Andy Warhol、Jean-Michel Basquiat 和 Gilbert & George 等藝術大師，到 Brassaï 、Robert Mapplethorpe 和 Nan Goldin 等攝影名家，以及許多知名度相對較低的當代藝術家，展覽出口還有可以購買作品的藝廊，Agnès B 正在以敏銳的感受能力與包容的寬廣視野，建構出品牌多元的發展路線，也造就了屬於她自己獨一無二的藝術小宇宙。

塵世天堂在修道院住一宿 Le Paradis terrestre à 1 heure de Paris Abbaye de Roy aumont 巴黎北方的瓦茲省 (Oise) 美麗迷人，這裡有寧靜的田園風光和鄉村景色，還有許多值得造訪的小鎮、城堡和修道院，其中最具代表性的當屬魯瓦約蒙修道院 (Abbaye de Royaumont)。建造於 1228 至 1235 年間，由人稱「聖路易」的法王路易九世 (Louis IX, 1214-1270) 下令成立，魯瓦約蒙 (Royaumont) 意思是「皇家山」，顯示了修道院與王室的緊密關係。 1964 年魯瓦約蒙基金會 (Fondation Royaumont) 在此成立，這是法國第一個私人文化基金會，致力於音樂與舞蹈藝術的教育推廣，收藏許多 16 至 20 世紀珍貴的音樂文獻與手稿。此處也是法國漢學家安德烈・鐸爾孟 (André d'Hormon, 1881-1965) 晚年的住所，他在此完成了〈紅樓夢〉法文翻譯，還幫修道院取了一個非常詩意的譯名—「華幽夢」，象徵了他對中華文化的熱愛與情感，吸引無數華文世界遊客和中國古典文學愛好者前來。走進魯瓦約蒙修道院，迎面而來的是一條筆直寬闊的水道，兩旁是蓊鬱蒼翠的樹林，可惜修道院教堂早已不復存在，建築中心是優美的中世紀迴廊和花園，漫步其中，暫時忘卻了所有俗世的煩惱，一旁的食堂 (réfectoire) 則是法國哥德式建築大廳的絕佳案例。 2016 年修道院大規模整修工程中，增設了住宿與餐飲的服務，目前共有 45 間客房，在修道院最美的拱頂房間中，享用精緻的午晚餐與下午茶，是體會法國文化遺產的絕妙選擇之一。基金會本著支持青年人才的理念，選擇當時只有 23 歲的帕特里克・德瑞斯布爾 (Patrick Derisbourg) 擔任主廚，受到修道院中世紀菜園的啟發，他以當地小農生產的新鮮食材，忠於法式料理注重季節性的精神，設計出別出心裁但不過分花俏的菜單，可以透過開放式廚房觀察廚師料理的過程。厭倦了繁華的都會生活，魯瓦約蒙修道院是洗滌身心的絕佳去處，適合途經巴黎來此度個週末，來法國旅行，不要錯過修道院的清幽之選。

地址：Fondation Royaumont 95270 Asnières Sur Oise 旅館價位：雙人房 289 歐 / 晚、單人房 199 歐 / 晚餐廳價位：週六晚餐＆週日午餐 39,50 歐 / 人

Photo / 池上穀倉藝術館

字外有字

Text / 嚴仲唐 Jason Yen

在池上遇見臺靜農

C H A RAC T E R S B E YO N D C H A RAC T E R S － M E E T I N G TA I J I N G - N O N G IN CHISHANG TOWNSHIP

[ AGENDA ]

池上穀倉藝術館改建於創立於 1958 年建造的老穀倉，由台灣好基金會經營管理。原本存放稻米的所在地，當今存放的是精神食糧，餵養著當地居民與來自各地的藝術朝聖者們。蔣勳是首位駐村的藝術家，也是池上藝術村總顧問，在開館至今不到三年的時間內，越來越多人關注到這個樸實卻唯美的地方。 2020 年下半年的展覽，主角是已逝大師臺靜農，集結多方的作品與收藏整合，借展單位包含國立故宮博物院、國立臺灣大學、歷史博物館、國家兩廳院的藏品原作以及複製品以及文獻資料一同展出，完整梳理呈現這位傳奇文壇人物的收藏、創作、生活點滴以及後代的傳承與影響。 ▶ 池上穀倉藝術館外觀圖（中強光電文化藝術基金會提供，蔡詩凡攝影） ▼ 臺靜農書陳獨秀詩句《酒旗風暖少年狂》1973 水墨紙本 68 x 34.2cm（畫心）施淑老師收藏展覽現場照 ◀ 臺靜農先生（右）與莊嚴先生（左），1969年或1970年莊靈老師攝影

策展人谷浩宇說 :「2020 年是臺靜農老師逝世三十週年，林老師、蔣老師在一月分的時候跟陳文茜談論到臺老師溫州街故居時，萌生概念與想法，希望讓更多人看見、認識臺老師。經過五位參展人數十年的積累、沈澱與懷念，這個展覽不是一般的書法展，是一個流動的、有溫度跟故事的展覽，讓他的樣貌浮現出來，透過他的照片、文學、書法、書信呈現他的身影。」在這個獨特的展覽中，觀眾可以看見一位教育家、文學家、書法家的生活印記，在展出的書信中，包含陳獨秀、張大千、傅斯年、溥心畬、莊嚴、許壽裳、喬大壯等摯友的書信及胡小石的詩稿。在其中一封信中，陳獨秀提及書法不是臨摹而已「字外有字」，找到自己的面貌，或許是每一位書法家畢生的並經之路。策展人谷先生也提及 :「臺體絕對有做到這一點，他同時有明朝人倪元璐的字型、漢朝的隸書手腕力量，一

波三磔，不只是造型。」池上的臺靜農展覽從開展至今已經有超過一萬人次造訪，同時迎來池上藝術館開館的第七萬人次。美學佈道者蔣勳曾說過：「自然與山水是讀不完的詩句」，走進池上擁抱大自然，遠離都市塵囂，喚醒你沈睡已久的內在藝術精神，這就是文化的根本。2020 年下半年是重新認識台灣的好時機，台東的好山好水更是值得深度旅行，探索台灣這塊土地上眾多藝術家的靈感來源，讓靈魂被最純粹的美所觸動。無論是造訪什麼景點，這裡的風、所遇見的人，所見的環境都是精神的食糧。或許是很久沒有看見的地平線讓你感到放鬆、亦或是人類的渺小。仰望天空看到變幻無窮的雲與光彩，即使是陰天，也有獨到的美感，這在裡一年四季都可以體會到大自然的奧妙。

Managed by the Lovely Taiwan Foundation, Chishang Granary Art Museum was built from an old barn constructed in 1958. Originally used for rice storage, the place now serves as a reservoir of spiritual sustenance, nourishing local residents and art pilgrims from around the world. Chiang Hsun, the first resident artist, also serves as the general counsel of Chishang Art Village. In less than three years since its opening, increasingly more people are attracted to this plain yet graceful space. For the latter half of 2020, the museum is hosting an exhibition showcasing art by the master, Tai Jing-nong. Various original works, reproductions, and documentation on loan from several institutions, including the National Palace Museum, National Taiwan University, National Museum of History, and the National Theater & Concert Hall, will be displayed together to comprehensively present the collections, writings, and life of this legendary literary figure, as well as his legacy and impact on future generations.

▶ 奚淞《白描觀音》1988 水墨紙本 100 x 67cm（畫心）林懷民收藏 Shi Song, Portrait of Guanyin Bodhi, 1988, Ink on paper, 100 x 67cm, Lin Hwai-min collection ▼ 左：臺靜農書杜甫詩《秋興八首》行草中堂 1981 水墨紙本 176x93cm（畫心）國立歷史博物館收藏 Left: Tai Ching-nung, Poem "Ode to Autumn" by Du Fu, Ink on paper, National Museum of History 右：臺靜農書石門頌《高祖受命》隸書條幅水墨紙本 136 x 34cm（畫心）國立歷史博物館收藏 Right: Tai Ching- nung, A passage from prose "In praise of Yang Meng-wen", Ink on paper, 136 x 34cm, National Museum of History

Curator Michael Ku said: "2020 marks the 30th anniversary of the death of Prof. Tai Jingnong. In January, when Professors Lin and Jiang spoke to Ms. Chen Wen-chien about Professor Tai's former residence on Wenzhou Street, they came up with the idea to introduce Professor Tai to more people. This is not an ordinary calligraphy exhibition – it consists of several decades worth of accumulation, precipitation and remembrance of five exhibitors. It is a fluid exhibition with warmth and stories that allow the emergence of his characters, and present his impact through his photographs, literature, calligraphy and letters."

▶ 臺靜農七言聯《栗里奚童》水墨紙本 69.5 x 11.5cm x 2（畫心）蔣勳收藏 Tai Ching-nung, Seven-character couplet on humanitarianism and marginalized people, Ink on paper, 69.5 x 11.5cm x 2 Chiang Hsun collection

In this special exhibition, viewers can experience the life of this

Aesthetic evangelist Chiang Hsun once said: "Nature and

educator, writer, and calligrapher. The letters on display include those

landscape are poems offering an endless reading". Walk around

from Tai's close friends, such as Chen Du-xiu, Chang Dai-chien, Fu

Chishang to embrace nature away from the hustle and bustle of cities

Ssu-nien, Pu Xin-yu, Chuang Yan, Xu Shou-shang, and Chiao Da-

while awakening your long-dormant inner artistic essence - that is

zhuang. The manuscripts of poems by Hu Xiao-shi are also on display.

the root of culture. The latter half of 2020 is a good time to become

In one of the letters, Chen Du-xiu mentioned that calligraphy is not

reacquainted with Taiwan. The gorgeous mountains and rivers of

simply a form of copying. "Characters beyond characters" is the

Taitung merit your in-depth exploration, in search of many artists'

concept behind the lifelong journey of every calligrapher to look for

source of inspiration on the land of Taiwan. Let your soul be moved

their own appearance. Curator Mr. Ku also said: "The Tai calligraphy

by the purest form of beauty.

style definitely has it all, combining the distinctive character shapes of Ming Dynasty's Ni Yuan-lu and the wrist strength as demonstrated in Han Dynasty's clerical script. The wavy brushstrokes are not just about a stylish look." Since the opening of the Tai Jing-nong exhibition in Chishang, more than 10,000 visitors have attended the event, which also welcomed the 70,000th visitor since the opening of the Chishang Granary Art Museum. "It is perhaps a tacit arrangement such that the stories of Prof. Tai continue to flourish".

Regardless of the scenery, the wind here, the people you meet, and the environment around you all serve as sources of spiritual nourishment. Perhaps you feel relaxed upon seeing the horizon which has been absent from you for some time, or it may be realization of the insignificance of humankind. Look up at the sky to see everchanging clouds and light rays exhibiting a unique sense of aesthetics even on cloudy days. Here, you can enjoy nature's profound beauty all throughout the year.