羅芙奧季刊第47期 RAVENEL QUARTERLY NO. 47

游牧者的未來 艾迪．馬丁內斯

THE FUTURE OF THE NOMADER EDDIE MARTINEZ

No. 47 Summer 2024

Who Get to Decide What is Good to Drink No.47 ｜ Summer 2024 ｜ https://ravenel.com

12 THE ARTIST

荒蕪中的玫瑰：安森．基佛的藝術

Rose in the Desolation: Anselm Kiefer 18 ISSUE

經典潮流匯聚－羅芙奧春拍美的饗宴

Spring Feast: Ravenel Unveils an Exquisite Array of Modern & Contemporary Art 24 ART & INVESTMENT

游牧者—淺談威尼斯雙年展和艾迪．馬丁內斯 "Nomader"- Exploring the Intersection of Art: The Venice Biennale and Eddie Martinez

44 LUXURY

豪門富家門牆內，藹藹內蘊的傳世之光

Brilliant Heritage Embraced within the Walls of Prosperous Families

48 FASHION 「時尚」策展人

50 CUISINE

享受美食不該有罪惡感？

56 FASHION

春天永續策展人 SHIATZY CHEN 夏姿．陳

58 FASHION

米蘭「設計」

可持續性「家居」風格拼圖

62 LIFE

臺南 400：你可以再「亮」一點

《光雕藝術》的一下步

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 唐維怡 Eva Tang

發行所 Published / 羅芙奧股份有限公司 Ravenel Ltd.

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艾迪．馬丁內斯《無題（瓶花）》 2020 年

油彩 壓克力 噴漆 亞麻布 190.5 x 167.6 cm

羅芙奧 2024 春拍「現代與當代藝術」專場 編號 040 預估價 TWD 9,500,000 - 14,000,000 Eddie Martinez, Untitled (Flower Pot), 2020, oil, acrylic and spray paint on linen, 190.5 x 167.6 cm

Ravenel Spring Auction 2024 Modern & Contemporary Art, lot 040, estimate price USD 299,000 - 440,700

創刊 2012 年 5 月 First issue May, 2012 季刊 Quarterly

登記證 中華郵政臺北雜字第 1883 號執照登記為雜誌交寄 © 版權所有 翻印必究。本刊圖文非經同意，不得轉載或公開播送。 All rights reserved. Use of editorial content without permission is strictly prohibited.

從國際新聞報導中發現，極端氣候現象已經是地球的常態， 保護地球的訴求刻不容緩。若不正視碳排問題，未來企業將難 與國際競爭。海水上升，印尼雅加達，度假天堂馬爾地夫，再 過幾年會被海水淹沒。

低碳飲食，零廢棄物餐廳，生態時尚成為國際上新的流行。

ESG 環保永續，又能生活得更加健康，何樂不為。

氣候變化讓葡萄酒佳釀愈顯珍貴。善待地球，用心品飲大 自然的禮物。至於，酒好不好喝，專家的意見可資參考：《葡 萄酒倡議者》的羅伯特．派克（ Robert Parker ）、《威士忌聖經》 的吉姆．莫瑞（ Jim Murray ）或是《威士忌之樂》版主專家塞爾 日．瓦倫丁（ Serge Valentin ），各擅勝場。

四月的威尼斯陽光燦爛，色彩繽紛帶有拉丁風情的展覽入 口展板，接待了從全球的藝術界人士，欣喜迎接第 60 屆威尼

丹尼爾．歐丹尼《我就是未來》 2022 年 壓克力 油畫棒 畫布 120 x 100 cm

羅芙奧 2024 春拍「現代與當代藝術」專場 編號 094

預估價 TWD 260,000 - 380,000

Daniele Oldani, I Am the Future, 2022, acrylic and oil pastels on canvas, 120 x 100 cm

Ravenel Spring Auction 2024 Modern & Contemporary Art, lot 094, estimate price USD 8,200 - 12,000

低碳未來 MOVING TOWARD A LOW CARBON FUTURE

斯美術雙年展。拉丁美洲裔美國藝術家艾迪．馬丁內斯（ Eddie Martinez ）在城內的「未來熔爐」（ La Fucina del Futuro ）的聖 馬利諾國家館中舉辦了「游牧者」（ Nomader ）個展，呼應主展 館「處處都是外人」（ Foreigners Everywhere ）關注邊緣和流動 的當代議題。

德國大師安森．基佛（ Anselm Kiefer ）在兩年前威尼斯建 城 1600 年受邀舉行盛大展覽，而今年他的回顧展也在佛羅倫斯 展出中。兩位藝術大師的作品都將在六月初羅芙奧 2024 春拍中 現身。

上述的主題皆是第 47 期羅芙奧《 Ravenel 》季刊中精彩的專 文與報導。迎接低碳未來，拍賣會將採行更環保方式因應，在 欣賞藝術美好之餘，記得也要低碳愛地球。

總編輯

THE DESOLATION:

ANSELM KIEFER ROSE IN

荒蕪中的玫瑰：安森．基佛的藝術

Text / 陳昱良 Iris Chen

Photo / 陳子萱 Jenny Chen, 羅芙奧藝術集團 Ravenel International Art Group, 安森．基佛藝術家基金會 Eschaton Kunststiftung

當戰火肆虐，精神的花園一片荒蕪，人們渴求著靈性的啟示。

德國的多瑙艾辛根（ Donaueschingen ）西臨萊茵河，鄰近海德堡 與巴塞爾，它是多瑙河的源頭，哺育德意志精神的搖籃。 1945 年

3 月 8 日歐戰尚未平息，迎來了「第三帝國廢墟的畫界詩人」藝術 家：安森．基佛（ Anselm Kiefer ）的出生。

二戰後 1949 至 1969 年間西德政府全力推動「西向結盟政 策」，亟欲擺脫戰犯枷鎖，接受外來文化形同穿上正義的外衣、 道德的面具；而年輕世代前仆後繼吸吮著抽象表現、極限藝術、 普普藝術的奶水，試圖打造現代德國新面貌，重回世界家族的懷 抱。而基佛的藝術就是在如此社會背景下成長，它繼承浪漫主義 的血統，誕生於殘垣的蒼白，焦土上踽踽獨行，尋找前世記憶裡 的金色麥浪。

藝界評價基佛以藝術創作，回應自身國族認同的情感歸宿。 以顛覆以往的手法，反思民族根源，建立起批判的觀點。 1960 年 代至今超越半世紀的探索，基佛的藝術早已昇華至探索全人類命 運的視角。立足於前人堆砌的文化長城，不斷以藝術譜寫自己對 過往的詮釋，試圖為後世延續人類的歷史。觀者親臨基佛的作品， 常表達如置身午夜星空，感受到滄海一粟的孤獨。時間長河拉近 至跟前，對過往歷史、文字、傳說的抽象情感一一被藝術家視覺 化呈現。

受到約瑟夫．博伊斯（ Joseph Beuys 1921-1986 ）和 1960 年 代末期義大利貧窮藝術（ Arte Povera ）的影響，基佛無論是 1969 年發表記錄其行為藝術的藝術書作品，如：《英雄象徵》（ Heroic Symbols ）、《佔領》（ Besetzungen ），亦或在攝影、平面、裝 置雕塑，都有極為複雜的物料運用和感官效果。戰後思潮奠定他 表現形式的基礎，作品中常見巨大量體挾帶的壓迫感，混合著各 種天然或人造物，如：鉛塊、泥土、石塊、玻璃、鐵絲、砂礫、 麥稈等材質，他賦予物質「象徵」和「寓意」，乘載著作者所思 所言，建築出恢弘、粗糙、斑駁、碎裂的獨特（美學）印記。

在過往的歲月中，基佛不斷援引自己天主教家庭的宗教背 景，並偶爾引用教條至作品之中。其中，對於猶太神祕主義的參 考也是相當豐富。 1966 年學習美術之初，曾為研究柯比意（ Le Corbusier ）建築，前往法國拉圖雷特修道院（ Couvent Saint Marie de la Tourette ）與修士們共居修行的經驗。基佛在處理「時間」 與「空間」的抽象回望，很擅長借用受到宗教儀式，集體對現狀 的共同意識來佈局。亦如「閣樓系列」畫作《父、子、聖靈》、 《四位一體》，想像的場景不斷重複火、田野、森林、木紋等德 國符號，賦予日耳曼靈魂重生的軀殼。他召喚對現實的「聯覺」 （ Synaesthesia ），通過物理載體來傳遞給觀眾，當五感構成知覺 投射回心理，擴張了情感渲染的表現性。

安森．基佛《莉莉絲的女兒》 2006 年 油彩 壓克力 蟲膠 荊棘 蕨類植物 衣物 石膏 畫布 玻璃 190 x 140 cm －私人收藏，亞洲 Anselm Kiefer, Liliths Tochter, 2006, oil, acrylic, shellac, brambles, resin-coated ferns, clothes and plaster on canvas under glass, 190 x 140 cm - Private collection, Asia © Anselm Kiefer

當基佛暫時擱置當代社會的難題，將目光投向，德國神話與 北歐傳說，創作媒材也有所轉變。基佛熱愛李察．華格納（ Wilhelm Richard Wagner ）歌劇，援引自日耳曼古老敘事詩與北歐神話的 《尼布龍根的指環》（ Der Ring des Nibelungenlied ）帶給他靈感： 透過民族神話「尋根」，重新梳理歷史，有可能是解決當代難題 的金鑰？藝術評論家探討基佛在尼布龍根「風景畫」系列視覺表 達手法、素材的象徵性，與對應德國精神的流亡與暗喻。摘選主角： 英雄齊格菲（ Siegfried ）與女武神布倫希爾（ Valkyries Brunhild ） 的故事，進一步展現基佛視人物為「精神載體」的研究。創作同 如同施展煉金術，轉移古代英魂一次次附身人世間。

基佛與巴塞利茲（ Georg Baselitz ）代表德國參加第三十九屆 威尼斯雙年展，之後 1988 年代表德國參加第九屆巴西聖保羅雙年 展，也開啟以猶太神話「莉莉絲（ Lilith ）」為母題的作品。倒轉 藝術家至今的脈絡，很難忽視他對女性特質與陰性力量形而上的 思考和崇拜。華格納筆下的布倫希爾、策蘭（ Paul Celan ）的金 髮瑪格麗特（ Margarete ）、舒拉密斯（ Shulamith ）、茜茜公主 （ Elisabeth of Austria, Sisi ）等人物。她們是歷史的複誦，是女巫、 祭司、戰士、皇后和母親，遺留的名號如幽魂，不斷迴盪在史書 的冊頁。經年累月由基佛慢慢收集，重回世間。

安森．基佛位於法國巴爾雅克 La Ribaute 園區場景

Anselm Kiefer, DieHimmelspaläste, 2003-2018 La Ribaute, Barjac, France

Courtesy of Eschaton - Anselm Kiefer Foundation, Photo: Charles Duprat © Anselm Kiefer

法國亞維儂西北邊七十公里處，名為巴爾雅克（ Barjac ）的村 落，基佛為自己占地四十公頃，前身為絲綢廠的工作室命名為「 La Ribaute 」。從露天劇場、地下迷宮、獨立別館、圖書館；開闊場 域展示著基佛 1992-2007 年共計 70 座重要的藝術裝置。參訪其 中，以鉛、攝影與水組成的《革命中的婦女》（ Les femmes de la Revolution ）裝置作品。而一座座硬如鎧甲，造形為十九世紀束腰 婚服的無頭銅雕來自《古代女人》（ Die Frauen der Antike ），每 座以文字屬名著：柯妮莉亞（ Cornelia ）、諾西斯（ Nossis ）、莎 芙（ Sappho ）等女性先賢，她們守衛著這座由基佛建起諾大的萬神 殿。

2007 年巴黎迎接了基佛，城市主保聖女吉納維耶芙（ Sainte Geneviève ）似乎也特別眷顧這位來自德國的藝術家。羅浮宮典藏 並永久陳列基佛的繪畫《煉金術》（ Athanor ）、雕塑《達娜耶》 （ Danaé ）與象徵純潔的《祕密花園》（ Hortus Conclusus ）三件 作品。巴黎大皇宮特展「不朽」（ Monumenta ）則展出其全場域裝 置《群星墜落》（ Sternenfall ），向德國女詩人巴赫曼（ Ingeborg Bachmann ）、策蘭（ Paul Celan ）及法國小說家路易－費迪南． 塞琳（ Louis-Ferdinand Céline ）致敬。法國禮遇藝術家的社會 氣氛，促使他在巴黎與近郊新設兩處工作室。而「聖母頌（ Ave Maria ）」正是藝術家此階段創作的題材之一。

該系列揭示藝術家承襲基督教聖母描繪傳統，以超乎形體之 外者意義的手法，引導世人進入神性的領域。全篇暖橘紅色調， 告別以往對女性題材，晦澀而蒼白的憂傷印象。畫面覆蓋各種材 料，「帶刺的玫瑰花」連結《玫瑰經》禱文和基督受難的荊棘冠 冕。親筆寫成的拉丁引文「聖母頌‧至貞之母（ Ave Maria, Mater Castissima ）」，如作者懷有謙遜與真誠，不斷低喃對教義的探索。 荒蕪中的玫瑰，聖母慈愛無邊，憐憫著全人類的憂傷。

基佛即將迎接人生中第八十次的向日葵花季，他謙稱還沒有 完成過代表作，因此孜孜不倦持續創新作品，全球美術館也樂於不 斷邀請這位偉大的當代藝術家舉行回顧展。 2016 年成立非營利組 織基金會「世界末日－安森．基佛基金會（ The Eschaton-Anselm Kiefer Foundation ）」，致力於保存和數位化越來越多與其相關得 資料檔案。 2022 年五月園區「 La Ribaute 」開始季節性開放給大眾 參訪，2023 年由法國坎城影展及德國柏林影展最佳影片導演：文． 溫德斯（ Wim Wenders ）執導基佛傳記性電影《安塞姆：廢墟詩篇 （ Anselm: The Sound of Time ）》並於坎城影展首映。不僅回顧藝 術家的一生，也警示著當今世界的荒蕪，可謂是最為詩意的致敬。

When the flames of war ravage, the garden of the spirit lies barren, and people thirst for spiritual revelation. Donaueschingen, Germany, located to the west of the Rhine River, near Heidelberg and Basel, is the source of the Danube River, cradle of the German spirit. On March 8, 1945, amidst the ongoing European conflict, emerged the "the poet on the ruins of the Third Reich," artist Anselm Kiefer.

Between 1949 and 1969, in the aftermath of World War II, the West German government vigorously pursued a policy of "Western integration," eager to break free from the shackles of war guilt, embracing foreign cultures as a guise for justice and morality. Meanwhile, successive generations eagerly embraced Abstract expressionism, Minimalism, and Pop art, striving to create a new face for modern Germany and return to the embrace of the world family. It was against this backdrop that Kiefer's art flourished, inheriting the lineage of Romanticism, born from the pale ruins, wandering alone on scorched earth, searching for the golden wheat fields of ancestral memory.

Art critics have praised Kiefer's artistic creations for their response to his own national identity. Through subversive methods, he reflects on the roots of his nation and establishes a critical perspective. Over half a century of exploration since the 1960s, Kiefer's art has transcended to encompass a perspective that explores the fate of all humanity. Anchored in the cultural Great Wall constructed by his predecessors, he continuously interprets the past through his art, seeking to extend human history for future generations. Visitors encountering Kiefer's works often express a sense of being immersed in a midnight sky, feeling the profound loneliness of a drop in the vast ocean. As the river of time draws nearer, the abstract emotions towards past history, literature, and legends are visualized one by one by the artist.

Influenced by the Arte Povera movement in Italy in the late 1960s, as well as Joseph Beuys (1921-1986), Kiefer's works, whether documenting his performance art in 1969 such as "Heroic Symbols" and "Occupations," or his prints and installation sculptures, exhibit a highly complex use of materials and sensory effects. The post-war zeitgeist laid the foundation for his expressive forms, often featuring a sense of oppression conveyed through monumental masses, mixed with various natural or artificial materials such as lead blocks, soil, stones, glass, wires, gravel, straw, and more. He imbued these materials with "symbols" and "meanings," carrying the thoughts and words of the author, constructing a grand, rough, mottled, and fragmented aesthetic imprint.

Throughout the years, Kiefer has consistently drawn on his Catholic upbringing, occasionally referencing dogmas. References to Jewish mysticism have also been plentiful in his work. In 1966, during which he researched Le Corbusier's architecture and spent time living and practicing with monks at the Couvent Saint Marie de la Tourette in

France. Kiefer's abstract contemplation of "time" and "space" often involves adeptly borrowing from religious rituals and the collective consciousness of the present state. For instance, in his "Attic Series" paintings such as "Father, Son, Holy Spirit" and "Trinity," he repeatedly imagines scenes with German symbols such as fire, fields, forests, and wood grain, infusing them with the rebirth of the Germanic soul. He evokes "synaesthesia" regarding reality, conveying it to the audience through physical carriers, where the projection of perception returns to the psyche through the amalgamation of the senses, expanding the expressive nature of emotional rendering.

安森．基佛《聖母頌．至貞之母》 2007 年

油彩 壓克力 蟲膠 鐵 玫瑰 鉛 陶土 紙板 膠合板 藝術家原裝框 215 x 141 cm 羅芙奧 2024 春季拍賣會 拍品編號 039

Anselm Kiefer, Ave Maria, Mater Castissima, 2007, Oil, acrylic, shellac, iron, roses, lead, clay and cardboard on plywood, in artist's frame, 215 x 141 cm Ravenel 2024 Spring auction, Lot 039

When Kiefer temporarily set aside contemporary societal issues and turned his gaze towards Germanic mythology and Norse legends, he also shifted his choice of materials. Kiefer's passion for Richard Wagner's operas, particularly his inspiration drawn from the Germanic epic poem and Norse mythology "Der Ring des Nibelungenlied," provided him with inspiration. Through the exploration of national myths, could he potentially find the key to solving contemporary problems by revisiting history? Art critics delve into Kiefer's visual expression techniques and the symbolism of materials in his "Nibelungen" landscape series, alongside their corresponding exile and allegory to the German spirit. Focusing on protagonists like the hero Siegfried and the Valkyrie Brunhild, Kiefer further demonstrates his study of characters as "spiritual vessels." His creative process resembles alchemy, where ancient spirits are repeatedly reincarnated into the human world.

Kiefer and Georg Baselitz represented Germany at the thirtyninth Venice Biennale in 1980 and at the ninth São Paulo Biennial in 1988. He also began a series of works based on the Jewish myth of Lilith. Tracing the trajectory of Kiefer's art to the present, it's hard to overlook his contemplation and reverence for feminine traits and the metaphysical power of the feminine. Characters like Brunhild from Wagner's works, Margarete from Paul Celan's poetry,

Shulamith, and Elisabeth of Austria, among others, populate his oeuvre. They are echoes of history, embodying roles as witches, priestesses, warriors, queens, and mothers, their names lingering like specters, resonating through the pages of history books. Over the years, Kiefer has meticulously collected these echoes, bringing them back into the world.

Located 70 kilometers northwest of Avignon, France, is the village of Barjac, where Anselm Kiefer owns a 40-hectare estate. Formerly a silk factory, it is now named "La Ribaute". From openair theaters, underground labyrinths, and standalone pavilions to libraries, this expansive venue showcases a total of 70 significant art installations by Kiefer from 1992 to 2007. Visitors can explore installations such as "Les femmes de la Revolution" featuring lead, photography, and water. Additionally, there are headless bronze sculptures resembling nineteenth-century corseted wedding dresses from the "Die Frauen der Antike". Each sculpture bears the name of a female luminary such as Cornelia, Nossis, and Sappho, guarding this grand Pantheon erected by Kiefer.

▼ 藝術家 2022 年威尼斯總督府展覽場景

The scene of Anselm Kiefer's solo exhibition at Palazzo Ducale, Venezia, 2022 Courtesy of Eschaton - Anselm Kiefer Foundation, Photo: Georges Poncet © Anselm Kiefer

In 2007, Paris welcomed Anselm Kiefer, and it seemed that the city's patron saint, Sainte Geneviève, also showed special favor to this artist from Germany. Musée du Louvre collects and permanently displays three of Kiefer's works: the painting "Athanor," the sculpture "Danaé," and the symbol of purity, "Hortus Conclusus" ("The Enclosed Garden"). The exhibition at the Grand Palais in Paris, "Monumenta," featured his expansive installation "Sternenfall" ("Falling Stars"), paying homage to the German poets Ingeborg Bachmann and Paul Celan, as well as the French novelist Louis-Ferdinand Céline. The social atmosphere of France's reception of the artist prompted him to establish two new studios in Paris and its suburbs. And 'Ave Maria' is one of the themes the artist worked on during this period.

This series reveals the artist's inheritance of the Christian tradition of depicting the Virgin Mary, guiding viewers into the realm of divinity through a meaning beyond form. The entire piece is bathed in warm orange-red tones, bidding farewell to the somber and pale impressions of women in the past. The imagery is covered with various materials, with "thorned roses" connecting to the Rosary prayer and the crown of thorns from Christ's Passion. Handwritten Latin citations such as "Ave Maria, Mater Castissima" suggest the author's humility and sincerity, continuously murmuring

▲ 安森．基佛《七重天宮殿》永久陳列場域裝置，米蘭藝術中心 Anselm Kiefer, TheSevenHeavenlyPalaces, 2004-2015, Permanent Site-Specific Installation, Pirelli HangarBicocca, Milano Photo: Alessandro Cimmino / Courtesy Lia Rumma Gallery © Anselm Kiefer

◀ 安森．基佛《我想看看我的山－致敬喬凡尼．塞甘蒂尼》與《風中的新娘》畫作 Anselm Kiefer, Vogliovederelemiemontagne-fürGiovanniSegantini, 2010-2021, Emulsion, oil, acrylic, shellac, sediment of an electrolysis, gold leaf and charcoal on canvas, 190 x 280 cm

Anselm Kiefer, Die windsbraut, 2015-2020, Emulsion, oil, acrylic, shellac, gold leaf, fabric and chalk on canvas, 220 x 330 cm; Courtesy of Eschaton - Anselm Kiefer Foundation © Anselm Kiefe

an exploration of doctrine. In the midst of desolation, the roses depict the boundless love of the Virgin Mary, showing compassion for the sorrows of all humanity.

As Kiefer approaches his eightieth sunflower season, he modestly claims to have never completed a masterpiece, thus tirelessly continuing to innovate his work. Museums worldwide eagerly invite this great contemporary artist to hold retrospective exhibitions. In 2016, the nonprofit organization, "The EschatonAnselm Kiefer Foundation," was established, dedicated to preserving. In May 2022, the "La Ribaute" began seasonal openings to the public, and in 2023, directed by the renowned film director Wim Wenders, the biographical film "Anselm: The Sound of Time" premiered at the Cannes Film Festival. It not only revisits the artist's life but also serves as a warning about the desolation of the modern world, making it a most poetic tribute.

Spring Feast:

RAVENEL UNVEILS AN EXQUISITE ARRAY OF MODERN & CONTEMPORARY ART

經典潮流匯聚 羅芙奧春拍美的饗宴

Text / 陳子萱 Jenny Chen

Photo / Ravenel Art Group

羅芙奧 2024 春季拍賣會「現代與當代藝術」 專場，訂於 6 月 2 日下午 2 時於台北萬豪酒店舉行， 甄選現當代藝術拍品 151 組。專場群英薈萃，匯 聚國際知名藝術大師與潛力新銳，內容涵蓋自西洋 傑作、華人經典、日韓現當代、東南亞新生代、潮 流塗鴉藝術等，力圖為觀眾呈現一場流動的美學盛 宴，精采不容錯過。

重點西洋拍品推薦：美國抽象表現大師－山 姆．法蘭西斯（ Sam Francis ），《無題》繪製於 1980 年，是法蘭西斯繪畫成熟時期的代表，構圖 充滿活力和動感。去年適逢法蘭西斯百歲誕辰，洛 杉磯郡立美術館和加州安德森收藏館皆舉辦百年紀 念展以茲慶祝，行情逐漸看漲中。法國具象主義大

1. 山姆．法蘭西斯《無題》 1980 壓克力 畫布

Sam Francis, Untitled, 1980, acrylic on canvas, 127 x 353 cm

2. 趙無極《 15.7.93 》 1993 油彩 畫布

Zao Wou-ki, 15.7.93, 1993, oil on canvas, 65 x 81 cm

3. 徐悲鴻《陸運濤夫人像（小稿）》 1939 油彩 紙板裱於畫布

Xu Beihong, Portrait of Mrs Lu Yun Tao (small draft), 1939, oil on cardboard mounted onto canvas, 40 x 28 cm

4. 貝爾納．畢費《黃色鬱金香》 1964 油彩 畫布

Bernard Buffet, Tulipesjaunes, 1964, oil on canvas, 116 x 73 cm

師－貝爾納．畢費（ Bernard Buffet ）《黃色鬱金香》為藝術家早 期花卉作品，帶有淡淡的憂鬱色彩，枝葉昂揚傳遞正向意涵，「瓶 花」系列貫穿各個時期的筆觸，見證了藝術家從經典手法到對繪畫 的新體驗與感悟。

巴黎畫派大師－貝爾納．卡多蘭（ Bernard Cathelin ）《紅色 仙客來靜物》濃厚的詩意展現對自然美景的熱愛。法國備受尊崇的 抽象畫家－喬治．馬修（ Georges Mathieu ）《希臘之城》為一幅充 滿凝聚力和能量的迷人作品，奔放筆勢彰示馬修的藝術語彙。法國 自由具象派繪畫運動的領導者－羅伯．貢巴斯（ Robert Combas ） 《無題》拍品帶著街頭塗鴉的強烈風格。多明尼加藝術家－塔妮亞． 馬莫列霍（ Tania Marmolejo ）《雨林中的秘密》為其標誌性的巨 大女性肖像。KAWS（布萊恩．唐納利 Brian Donnelly ）《同伴（棕 色）》是受年輕世代藏家關注度極高的潮玩藝術象徵。

華人藝術重要作品，包括：中國現代美術的奠基者－徐悲鴻《陸 運濤夫人像（小稿）》旅居南洋期間，為新加坡一代美人李惠望－ 新馬電影大亨陸運濤夫人繪製油畫肖象，此小稿創作放大之作品， 現存於北京徐悲鴻紀念館，從歷史文獻照片中，可以看見徐悲鴻創 作此稀珍畫作的過程。現代法籍華裔藝術巨匠－趙無極《 15.7.93 》 技法自然爐火純青，把繪畫提昇至幽緲的心靈視界。台灣戰後重要 的前輩藝術家－李德《在天之涯》曾展於台北市立美術館，為藝術 家回歸對「點」的探索，以及中國水墨畫「皴法」的研究之上乘之 作。拍場亦有才氣縱橫的海外華人大師丁雄泉多幅色彩亮麗之油畫 佳作；被譽為「現代水墨畫之父」的劉國松《太空系列一紅日升自 五花海》、《沒有季節的山－西藏組曲五十四》；五月畫會的主要 成員之一莊喆《構圖 （雙聯幅）》；在世時長年過著索居禪行的生活， 畫作甚為珍稀的葉世強《窗臺》；台灣當代藝術家葉子奇《舉目向山， 洛韶》；中國當代藝術家洪凌《雪靜山空》都是春拍重要作品。

享譽國際的日本熱門藝術家：六角彩子（ Ayako Rokkaku ）《無 題》刻畫藝術家標誌性的、古靈精怪的大眼女孩。奈良美智（ Yoshitomo

Nara ）《我的手呢》擁有特大頭部比例的孩子表現出反叛精神，深受 收藏家追捧。塩田千春（ Chiharu Shiota ）《無盡的線》千絲萬縷勾 勒出的詩意氛圍。近年則以黑白雙主色之鮮明畫風在藝壇響亮名號的 五木田智央（ Tomoo Gokita ）《日日夜夜》。著名雕刻大師舟越桂 （ Katsura Funakoshi ），今年不幸地因肺癌離世，享壽 72 歲，本場亦 有《 DR1917 （為天青之書而作的圖畫）》作品參拍。還有泰國知名 當代藝術家亞歷克斯．費斯（ Alex Face ）帶來標誌性三眼兔作品。本 場拍賣亦推薦多件立體作品，如平子雄一（ Yuichi Hirako ）、山口歷 （ Meguru Yamaguchi ）、名和晃平（ Kohei Nawa ）、土屋仁 （ Yoshimasa Tsuchiya ）等，匯聚國內外現當代明星藝術家，創作風格、媒材及主題 各異，精美絕倫。

Ravenel Spring Auction 2024 "Modern and Contemporary Art" will be held on June 2nd at 2 p.m. at the Taipei Marriott Hotel, featuring a selection of 151 contemporary artworks. The event will gather renowned international masters and promising newcomers, covering Western masterpieces, Chinese classics, Japanese anwd Korean contemporary art, Southeast Asian emerging artists, trendy graffiti art, and more. It aims to present a dynamic aesthetic feast for the audience and looks forward to enriching collectors' collections with a variety of fascinating targets. Don't miss out on this captivating event!

◀ 丁雄泉《憂鬱的愛》 1974 壓克力 畫布 Walasse Ting, IHaveMelancholyLoveforYou, 1974, acrylic on canvas, 101 x 127 cm

▲ 葉子奇《舉目向山，洛韶》 2017 油彩 畫布 Tzu-chi Yeh, LookingUptotheMountain, 2017, oil on canvas, 127 x 127 cm

▼ 李德《在天之涯》 1983 油彩 畫布 Read Lee, InaFarawayPlace, 1983, oil on canvas, 130 x 97 cm

Western Artworks Highlight: "Untitled" by Sam Francis, one of the first American painters to gain international acclaim after World War II. Painted in 1980, this piece represents Francis's mature period, with thick layers of paint and energetic brushstrokes creating a dynamic composition. Last year marked the centennial of Francis's birth, and this year commemorates the thirtieth anniversary of his passing. Both the Los Angeles County Museum of Art and the Anderson Collection at Stanford University held centennial exhibitions last year to celebrate his legacy, contributing to the increasing market demand for his work. Bernard Buffet, the iconic master of post-war figurative art in France, often depicted "Flowers in a Vase" as a recurring theme in his still-life works. This motif, present throughout various periods of his career, bears witness to the artist's transition from classic techniques to new experiences and insights into painting. "Tulipes jaunes" represents Buffet's early floral works, characterized by a subtle melancholic hue yet conveying a sense of positivity through the vigorous stems and leaves.

Master of the École de Paris, Bernard Cathelin, presents "Nature morte aux cyclamens rouges," his deep admiration for the beauty of nature is vividly expressed through his rich and complex palette. Georges Mathieu, the highly esteemed abstract painter from France, presents "Éleusia," a captivating artwork brimming with cohesion and energy, showcasing Mathieu's artistic vocabulary. Robert Combas, the leader of the French Figuration Libre movement during the 1980s, created "Untitled" in 1987. The artwork embodies a strong graffiti-inspired style, exuding rich humor and visual impact. Tania Marmolejo, the Dominican artist, presents "Secrets in the Rainforest," featuring her iconic giant female portrait. KAWS (Brian Donnelly) presents "Companion (Brown)," which is a trendy art symbol highly regarded by young generation collectors.

▲ 羅伯．貢巴斯《無題》 1987 壓克力 拼布 拼貼 畫布

Robert Combas, Untitled, 1987, acrylic and fabric collage on canvas, 96 x 87 cm

▼ 塩田千春《無盡的線》 2023 紅線 畫布

Chiharu Shiota, Endless Line, 2023, thread on canvas, 80 (L) x 80 (W) x 6 (D) cm

▶ 喬治．馬修《希臘之城》 1970 年代 油彩 畫布

Georges Mathieu, Éleusia, 1970s, oil on canvas, 73 x 92 cm

RAVENEL SPRING AUCTION

Recommended Classic Chinese Artworks: Xu Beihong, the pioneer of Chinese Modern art, created the artwork "Portrait of Mrs Lu Yun Tao (small draft)" during his stay in Southeast Asia. It depicts the beautiful Christina Lee, wife of the prominent film tycoon in Singapore and Malaysia, Lu Yun Tao (Loke Wan Tho).

The enlarged version of this sketch is currently housed in the Xu Beihong Memorial Hall in Beijing. Historical photographs document Xu Beihong's process of creating this precious artwork.The modern French-Chinese art maestro, Zao Wou-Ki, presents "15.7.93," his technique is masterful, with the fiery furnace of his skill reaching its peak. Read Lee, an important post-war veteran Taiwanese artist, presents "In a Faraway Place," previously exhibited at the Taipei Fine Arts Museum. This work marks the artist's return to the exploration of "dots", the study of "modeling" in Chinese ink painting.

▲ 山口歷《界外 119 號》 2021 壓克力 樹酯 木板

Meguru Yamaguchi, Out of Bounds No. 119, 2021, acrylic, epoxy resin on wood, 67 (L) x 107.5 (W) x 2.5 (D) cm

◀ 名和晃平《微粒—白鹿（ MB ）》 2020 綜合媒材 版次 16/80

Kohei Nawa, Particle White Deer (MB), 2020, mixed media, ed. 16/80, 75 (L) x 75 (W) x 68 (H) cm

▼ 五木田智央《日日夜夜》 2009 壓克力 亞麻布

Tomoo Gokita, NightandDay, 2009, acrylic on linen, 162 x 162 cm

Ravenel Spring Auction 2024 also features the vibrant oil paintings of the talented overseas Chinese master Walasse Ting; Liu Kuo-Sung, hailed as the "Father of Modern Ink Painting," presents "Outer Space Series-Sun Arising from Five Flower Pond" and "The Mountains Without Season: Tibet Series No. 54."; one of the main members of the Fifth Moon Group, Chuang Che, presents "Composition (Diptych)"; Yeh Shih-Chiang, who lived a secluded life dedicated to Zen practice, his paintings are rare and highly prized, presents "Windowsill"; Taiwanese contemporary artist Tzu-Chi Yeh presents "Looking Up to the Mountain". Chinese contemporary artist Hong Ling's "Snow in Vacant Mountains".

▶ 六角彩子《無題》 2008 油彩 畫布

Ayako Rokkaku, Untitled, 2008, oil on canvas, 100 x 100 cm

▲ 平子雄一《木之森 01 》 2022 木 壓克力 油漆（單一件）

Yuichi Hirako, Wooden Wood 01, 2022, wood acrylic, paint (unique), 94 (L) x 84 (W) x 140 (H) cm

Internationally renowned Japanese artist Ayako Rokkaku presents "Untitled," featuring her iconic whimsical large-eyed girls. Yoshitomo Nara's "Hand Searching" portrays children with disproportionately large heads, reflecting a rebellious spirit that collectors highly prize. Chiharu Shiota's "Endless Line" evokes a poetic atmosphere with its intricate web of threads. Tomoo Gokita, known for his bold black-and-white style in recent years, presents "Night and Day," adding to his resounding reputation in the art world. Unfortunately, this year saw the passing of the renowned sculptor Katsura Funakoshi due to lung cancer at the age of 72. His piece "DR1917 (Drawing for The Book of Azure)" will also be featured in this auction. Thai contemporary artist Alex Face brings his iconic threeeyed baby bunny artwork. The auction also recommends several three-dimensional works by artists such as Yuichi Hirako, Meguru Yamaguchi, Kohei Nawa, Yoshimasa Tsuchiya, gathering a stellar lineup of domestic and international contemporary artists with diverse styles, mediums, and themes, all showcasing exquisite craftsmanship.

EXPLORING

EDDIE MARTINEZ

四月的義大利氣候溫暖，是一個適合旅行的季節，美麗水都迎來第 60 屆「威尼斯國際美術雙年展」的開幕。它是世界上歷史最悠久的雙 年展，成立至今 129 年，兩年一度的活動是國際藝壇盛事，堪稱是「藝 術界的奧林匹亞」。百多年來的傳統，期間僅因一次世界大戰中斷兩屆， 還有 2021 年新冠肺炎疫情被迫延後一年， 2022 年後，美術雙年展的展 出年份也從奇數年變成偶數年，和建築雙年展（ 1980 年起成立）互換。 如此至關重要的國際大展，藝壇上的藝術家、策展人和畫廊，無不卯足 全力，積極爭取。各大主流媒體也不會錯過報導，而有幸參展的藝術家， 無疑是學術與市場雙重認證，收藏家們也會關注每屆參展藝術家，伺機 進場購買他們的作品。威尼斯雙年展成立的宗旨之一，即是力求為當代 藝術建立一個新的市場。

拉丁美洲藝術在威尼斯

本屆美術雙年展的視覺藝術總監與策展人是來自巴西的阿德里亞 諾．佩德羅薩（ Adriano Pedrosa ），他揭示的主題是「處處都是外人」 （ Stranieri Ovunque /Foreigners Everywhere ）（展期 4 月 20 日至 11 月 24 日），反映世界的當代政治與處境。雙年展從 1995 年開始啟用非 義大利籍的總監，逐漸以開放的心態，讓不同族裔、不同性別取向的藝 術工作者，融入這個百年歷史的雙年展。佩德羅薩是威尼斯國際美術主 題展的第一位拉丁美洲籍策展人，實際上也是來自南半球的第一人。

佩德羅薩提到：「處處都是外人，表達上有諸多含義。可以說，無 論你走到哪裡，無論在哪裡，你總是被外國人包圍。

然後在一個更 個人的，也許是精神分析的主觀維度中，無論走到哪裡，你內心深處也 是一個外國人。難民、外國人、酷兒、局外人和原住民，凡此種種 皆 是此次展覽感興趣的主題。」

威尼斯雙年展的展覽類別，包含「主題館」（ Central Pavilion ）、 「國家館」（ National Participations ）與「平行展」（ Collateral Events ）。「主題館」在綠園城堡（ Giardini ）和軍械庫（ Arsenale ）舉行， 分成兩大面向，一是當代核心，重點關注當代外國和本土藝術家，另一 是探索歷史核心，推崇拉丁美洲的芙烈達．卡蘿（ Frida Kahlo ）和迪亞 哥．里維拉（ Diego Rivera ）等 20 世紀經典人物，全球化殖民主義和 南半球現代主義，致力於肖像畫和再現、抽象以及南半球的義大利僑民 等議題。

除了主題館之外，相關的展覽，或多或少都能呼應策展的主題訴 求。「國家館」，開放全世界的獨立政府機構申請國家館展覽。綠園城 堡內有 30 個國家擁有自己的建築展館，自行負責建築體的維護費用， 若沒有專用建築者，就在城市裡尋找合適的建物成立展館。

2024 年有 88 個國家館參展，俄羅斯和以色列因為戰爭的爭議性於 此屆缺席。而台灣從 1995 年第 46 屆開始首次以國家館形式展出，固定 租用嘆息橋旁的普里奇歐尼宮（ Palazzo delle Prigioni ）展館，後來因 中國政府抗議， 2003 年從國家館名單除名，改以平行展形式參展，但 因位置鄰近聖馬可廣場和前往綠園城堡區的必經要道，國際藝術界人士 仍以台灣館視之。中國則從 2005 年第 51 屆開始擁有國家館，遲了台灣 館十年之久。 2024 年的中國館位置於軍械庫，大會給予中國館極度禮 遇，展館接近媒體區，展區面積最大。威尼斯雙年展國家館的位置，始 終是國力和經濟地位的展現，藝術結合政治的操作，痕跡斑斑可考。

2024 年另外有 30 場「平行展」，這些展覽事先經得策展人認可， 由非營利國家和國際團體、機構推動的平行活動，在威尼斯市周圍的多 個地點舉行，每次這些活動的參與，都能豐富了雙年展的多樣性與各類 聲音的表達。

威尼斯 2024 年雙年展綠園城堡主展館

The Entrance of Central Pavilion, La Biennale di Venezia 2024

「世界需要藝術家」

梵諦岡是羅馬的城中之國，擁有最壯麗宏偉的教堂，最頂級 的博物館。為了拉近宗教和藝術的距離，羅馬教廷館（ Holy See Pavilion ），在 2013 年首度參加威尼斯雙年展的國家館，由前任教 宗本篤十六世創立，旨在鼓勵藝術與教會之間建立更牢固的關係。

今年教宗方濟各拜訪羅馬教廷館「用我的眼睛」（ With My Eyes ）主題展，以紀念人權和邊緣組織為其訴求。各界的報導不斷， 因為方濟各是第一位踏進威尼斯雙年展的教宗。慈悲的教宗方濟各

艾迪．馬丁內斯《無題（瓶花）》 2020 年 油彩 壓克力 噴漆 亞麻布 190.5 x 167.6 cm

羅芙奧 2024 春拍「現代與當代藝術」專場 編號 040 預估價 TWD 9,500,000 - 14,000,000 Eddie Martinez, Untitled (Flower Pot), 2020, oil, acrylic and spray paint on linen, 190.5 x 167.6 cm Ravenel Spring Auction 2024 Modern & Contemporary Art, lot 040, estimate price USD 299,000 - 440,700

在威尼斯會見藝術家們，他傳遞出「世界需要藝術家」的訊息，因 為他認為藝術的作品可以幫助解決種族主義、仇外心理、生態「失 衡」、「對窮人的恐懼」和不平等問題。

而對應今年威年斯展覽主題「處處都是外人」，教宗也說道： 「沒有人是外人」。「在你身邊，我不覺得自己是外人，我有賓至 如歸的感覺。」因為宗教的愛，不會有批判，會親近人且鼓勵人。

教宗肯定「威尼斯一直是相遇和文化交流之所，向所有人展示 美的標誌。」因此，威尼斯雙年展對於世界而言，有著神聖而重要 的地位。

聖馬利諾國家館 San Marino Pavilion

義大利國土中除了有梵諦岡之外，另一個國中之國，更是 山中之國，那正是最莊嚴尊貴的「聖馬利諾共和國」。多數建 築以米色系為主，予人典雅又高貴之感，聖馬利諾是歐洲第三 小國，面積僅略大於梵諦岡和摩納哥。聖馬利諾是世界上現存 最古老的共和國家，整個國家就是世界重要遺產。雖然它不屬 於歐盟國家，但以歐元為法定貨幣，經濟來源主要依靠金融業、 工業、服務業和旅遊業，統計人口數僅三萬多人，然而聖馬利 諾是全球 GDP 最富裕的國家之一。

從歷史和地理的淵源來看，作為一個小國，友善鄰國、中 立是生存之道，因此自由主義和和平開放向來為聖馬利諾的象 徵。擁有重要旅遊資源和國際知名學府之外，在上屆東京奧運 會上五名運動員出賽，即拿下 1 銀 2 銅。那麼在藝術的競技場， 自然也沒有缺席。威尼斯雙年展從 2005 年之後也有聖馬利諾 國家館。因其熱情好客和避難之所，他們採取「友誼計畫」 （ Friendship Project ），邀請策展人參與，並與國際藝術家合 作。

聖馬利諾國家館在 2024 年推出具有拉丁美洲血統的艾 迪．馬丁內斯個展，由曾經任職於古根漢美術館、巴黎龐畢度 中心和威尼斯格拉西宮的美術史學者兼作家艾莉森．金格拉斯 (Alison M. Gingeras ）擔任策展。展出地點位於軍械庫附近的 「未來熔爐」（ La Fucina del Futuro ）展館，延續 2023 年建築 雙年展的同一空間。展館的前身是廢棄多年的熔鑄廠，內部建 築粗獷原始，看起來很像是一間藝術家工作室。馬丁內斯順理 成章地，把紐約工作室的創作熱情及能量搬到威尼斯的「未來 熔爐」。曾經的熔鑄廠蛻變成歷盡風霜的藝術展館，馬丁內斯 創作的美麗圖畫，更彰顯生機勃勃的當代能量。

艾迪．馬丁內斯的祖父是來自拉丁美洲波多黎各的移民， 擁有著西班牙語的姓氏，他們家族本身就反映著移民者的歷 史。此次聖馬利諾國家館的主題是「游牧者」（ Nomader ）， 意指沒有固定的居所的群體，常季節性地在明確的領土內從一 個地方遷移到另一個地方。展覽主題暗喻著當今世界有愈來愈 多的國際遊牧民族，因生存問題必須遷徙，尋求足以安身立命 之所。馬丁內斯本人漂泊的成長背景，呼應著游牧的行為，在 具象和抽象之間擺盪，混搭著各種風格的藝術創作形式。

他是一位低調且專注於創作的藝術家，繪畫是其專長，近 期甚至將繪畫轉化至雕塑的形式。策展人金格拉斯認為，就英 文字意上， Nomader ，「游牧者」，是新造的詞彙，名詞轉化 為動詞， Nomader 的讀音很像是 No matter ，「不管」、「沒 關係」的雙關語，意義上和語意上都能呼應馬丁內斯的作品和 即興的率性風格。

金格拉斯提到：「正如雙年展的策展主題，擁抱『遷 徙人』（ Homo Migrans ）的概念一樣－－想像作為人類意

謂著遷徙，身體上移動，心理上改變，並穿越不同的文化和 身份－－馬丁內斯的視覺宇宙亦復如此。馬丁內斯允許他的 作品在形式上和概念上，從自動繪畫的傳統，以及從眼鏡蛇 CoBrA 團體的抽象，轉移到他獨特的後菲利普．加斯頓式 （ post-Philip Guston ）的卡通形象創作，以及他不可思議地 再探索靜物畫和肖像畫等各種古典藝術類型。他的實驗性、 異質性的實踐在不斷變化中，運用不同的媒材，彷彿總是試 圖讓他的視覺語言對自己顯得陌生。」

艾迪．馬丁內斯《底特律的傻瓜》 2019 年 油彩 噴漆 墨 簽字筆 蠟筆 紙本（單一件） 76 x 51 cm 羅芙奧 2024 春拍「現代與當代藝術」專場 編號 102 預估價 TWD 850,000 - 1,300,000

Eddie Martinez, Blockheads for Detroit, 2019, oil, spray paint, ink, marker and crayon on paper (unique), 76 x 51 cm Ravenel Spring Auction 2024 Modern & Contemporary Art, lot 102, estimate price USD 26,800 - 40,900

總是不斷畫畫的馬丁內斯

艾迪．馬丁內斯 1977 年出生於美國東海岸康州的格羅頓 （ Groton ）海軍基地，從童年開始隨著家人不斷地搬家。父親是 一位承包商，負責建築物的油漆工程。父母親離異後，他跟隨父 親，從小耳濡目染，在牆壁上塗塗畫畫是極為稀鬆平常的趣味。 青年時期他的家庭穿梭於加州、佛州、德州和麻州，幾乎跨越整 個大美國。後來搬回東北，進入波士頓藝術學院（ Art Institute of Boston ）就讀，然而他發現自己的藝術其實更貼近於城市的文化和 圖象，於是學習一年之後就決定離開學校。可以說，馬丁內斯的 童年是變動的，沒有傳統家庭的穩定性，造成他的繪畫及主題傾 向片段化。游牧的成長背景讓馬丁內斯永遠感覺自己像個外國人， 還有他那拉丁發音的姓氏，隱藏漫長的歐洲遷徙與西班牙殖民歷 史的血緣基因。一直到成年後，馬丁內斯才在紐約布魯克林區扎 根。繪畫，給予他安慰和有家的感覺。

別人看他時，他總是在畫畫，他隨身攜帶筆記本記錄靈感， 用許許多多的片段和習作建構完成他的繪畫，獲得藝評家極佳的評 價。回顧他進入藝術市場的起始，齊耶爾．史密斯（ ZieherSmith ） 畫廊於 2005 年 12 月在邁阿密 NADA 藝術博覽會的展位上，首度 展出馬丁內斯的作品。隨後 2006 年又在齊耶爾 - 史密斯的紐約畫 廊舉辦個展，逐漸開展他既抽象又有童趣的藝術表現。約莫二十 年的時間，他已經多次在國際間重要的畫廊、藝博會、博物館和 機構展出。

艾迪．馬丁內斯《無題》 2014 年 壓克力彩 麥克筆 粉彩 瓷釉 紙本 24.8 x 30.5 cm 羅芙奧 2024 春拍「現代與當代藝術」專場 編號 101 預估價 TWD 320,000 - 500,000

Eddie Martinez, Untitled, 2014, acrylic paint, marker pen, pastel and enamel on paper, 24.8 x 30.5 cm

Ravenel Spring Auction 2024 Modern & Contemporary Art, lot 101, estimate price USD 10,100 - 15,700

他的幾個重要的博物館展覽，包括了 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；2018 年在紐約布朗克斯博物館（ Bronx Museum ）「覆蓋以白」（ White Outs ）雕塑和繪畫近作展；還 有 2019 年底特律當代藝術博物館（ Museum of Contemporary Art Detroit ）「快速艾迪新繪畫」（ Fast Eddie: New Paintings ），以 及和上海余德耀美術館（ YuzMuseum ）「遊宴」（ Open Feast ） 個展等。展覽資歷十分完整。

目前擁有馬丁內斯作品的知名公共收藏機構包括：美國韋爾 斯利學院戴維斯博物館（ Davis Museum at Wellesley College ）； 堪薩斯城肯珀當代藝術博物館（ Kemper Museum of Contemporary Art ）；墨西哥城胡美斯收藏館（ La Colección Jumex, Mexico City ）；洛杉磯郡立美術館（ Los Angeles County Museum of Art ）；德州沃斯堡現代美術館（ Modern Art Museum of Fort Worth ）；馬德里索菲亞王后國家藝術中心博物館（ Museo Nacional Centro de Arte Reina Sofía ）；華盛頓特區國家藝術畫 廊（ National Gallery of Art, Washington D.C. ）；費城賓夕法尼 亞學院美術（ Pennsylvania Academy of Fine Arts ）；邁阿密佩 雷斯藝術博物館（ Pérez Art Museum ）；普羅維登斯羅德島設 計學院博物館（ RISD Museum, Providence ）；布朗克斯藝術博 物館（ The Bronx Museum of the Arts ）；洛杉磯馬西亞諾收藏

館（ The Marciano Collection ）；紐約摩根圖書館（ The Morgan Library ）；倫敦薩奇收藏館（ The Saatchi Collection ）。還有一些 重要私人收藏，包括了世界智慧財產權界知名人物約旦的阿布． 格扎拉（ Abu Ghazaleh ）、英國倫敦保險公司（ Hiscox ）、台灣 藝人周杰倫等。

藍籌藝術家今年展覽跨三大洲

目前，馬丁內斯主要由四家畫廊所代理或合作，合力推廣與舉 辦個展：分別是布魯姆畫廊 Blum Gallery （前身是 Blum & Poe ） （洛杉磯）、米歇爾─英尼斯與納許畫廊 Mitchell-Innes & Nash（紐 約）和蒂莫西．泰勒畫廊 Timothy Taylor Gallery（倫敦）和馬克斯． 赫茲勒畫廊 Galerie Max Hetzler （柏林）。過去幾年貝浩登畫廊 Perrotin 多次在亞洲舉辦其個展，不過，馬丁內斯最近已經從該畫 廊官網的藝術家名單中消失了。

在亞洲的推廣方面，韓國可隆集團（ Kolon Group ）旗下的 文化藝術共享空間 Space K Seoul ，從 2024 年 3 月 14 日至 6 月 16 日舉辦「艾迪．馬丁內斯：待續」（ Eddie Martinez: To Be Continued ）個展，引起極大迴響。回顧過往，馬丁內斯的作品受 到亞洲市場的歡迎，本文附件的藝術家拍賣前 20 名的紀錄，有 15 個紀錄都在亞洲拍場締造。 2020 年更是他在拍賣市場最活躍的年 份，拍賣年度交易總額至少千萬美元以上。

艾迪．馬丁內斯《無題》 2015 年 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」編號 068 成交價 TWD 41,760,000

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, lot 068, sold for USD 1,465,263

近期儘管有些超當代藝術家的行情下修，馬丁內斯的二級市 場價格仍然強勁。根據 Artnet 價格資料庫，至 2024 年 4 月初為止， 馬丁內斯有 414 件作品參加拍賣，其中 46% 近半數的成交價高於 預估高價。他的畫作根據尺幅大小，行情從 10 萬美元到 200 萬美 元不等。

另外他的作品在一級市場（畫廊）更是活躍。包括紐約弗里 茲、倫敦弗里茲、瑞士巴塞爾或是香港巴塞爾等熱門藝博會，他 的作品都沒有缺席。據 Arnet 新聞 4 月 14 日的報導，在一級市場 上，一幅馬丁內斯的小畫起價至少 12,000 美元起跳，而油畫的價 格高達 60 萬美元。去年倫敦弗里茲展蒂莫西．泰勒畫廊展位上中 貼滿展牆的馬丁內斯小幅紙本草圖，行情從 1 萬 2 美元到 4 萬美元， 銷售成績斐然。

除了上述的威尼斯雙年展和韓國展，艾迪．馬丁內斯兩座雕 塑將安裝在芝加哥海軍碼頭（ Navy Pier ）的戶外展出，此為海軍

碼頭和芝加哥世博會合作的公共藝術展覽，展期 2024 年 4 月 5 日 至 8 月 25 日。柏林的馬克斯．赫茲勒畫廊與藝術家合作的首次展 覽也將於 6 月 7 日開始。緊接著在 2024 年 6 月 30 日起至 9 月 29 日紐約州帕里什美術館（ Parrish Art Museum ），將展出「艾迪． 馬丁內斯」個展，將展出七幅 3.7 米高的巨大蝴蝶繪畫，並同步發 行版畫。

從抽象、睡者、鳥、盆花、靜物、傻瓜頭、網球、桌面、曼 陀羅，這些在他繪畫中經常出現的幾個題材。隨著成為人父之後， 兒子喜歡的蝴蝶成為近期他經常創作的題材。馬丁內斯總是不斷 蒐集著生命的遷徙、點點滴滴的回憶，深刻融入他的藝術創作之 中。馬丁內斯一直是出色的超當代藍籌藝術家，很勤奮地創作著， 2024 年將是他忙碌的一年，我們期待能親眼看到那些明亮、大膽、 豐富色彩的繪畫與雕塑作品。

In April, the warm climate of Italy sets a perfect stage for travel as the beautiful city of water welcomes the opening of the 60th edition of the International Art Exhibition - La Biennale d'Arte di Venezia. It is the world's oldest biennial exhibition, established 129 years ago. The biennial event, held every two years, is a grand occasion in the international art world, often referred to as the "Olympics of the art world." With a tradition spanning over a century, the exhibition has only been interrupted twice, during World War I, and in 2021, when it was postponed for a year due to the COVID-19 pandemic. Since 2022, the exhibition has transitioned from odd-numbered to even-numbered years, alternating with the Architecture Biennale (established in 1980). This internationally significant event sees artists, curators, and galleries from the art world putting their best foot forward to actively participate. Major mainstream media outlets don't miss out on covering the event, and participating artists are seen as having received academic and market recognition. Collectors also pay close attention to each edition's exhibiting artists, seizing the opportunity to acquire their works. One of the founding principles of the Venice Biennale is to establish a new market for contemporary art.

Latin American art in Venice

The visual arts director and curator of this year's art biennale is Adriano Pedrosa from Brazil. He revealed the theme "Stranieri Ovunque" (Foreigners Everywhere), which reflects contemporary global politics and situations. The biennale, running from April 20th to November 24th, has gradually adopted an open-minded approach since 1995, allowing art workers of different ethnicities and sexual orientations to integrate into this century-old event. Pedrosa is the first curator of Latin American origin for the Venice International Art Exhibition, and in fact, the first person from the Southern Hemisphere.

Pedrosa proposed: "Foreigners everywhere, the expression has many meanings. One could say that wherever you go, wherever you are, you are always surrounded by foreigners. ... And then in a more personal, perhaps psychoanalytic subjective dimension, wherever you go, you are also a foreigner, deep down inside. Refugee, the foreigner, the queer, the outsider and the Indigenous, these are the subjects of interest in the exhibition."

The exhibition categories of the Venice Biennale include the Central Pavilion, National Participations, and Collateral Events. The Central Pavilion, held at the Giardini and Arsenale, is divided into two main aspects. One focuses on contemporary art, emphasizing contemporary foreign and local artists. The other explores historical themes, celebrating 20th-century classics like Frida Kahlo and Diego Rivera, and addressing issues such as globalization, colonialism, Southern Hemisphere modernism, portraiture, abstraction, and Italian emigrants in the Southern Hemisphere. Besides the Central Pavilion, related exhibitions more or less echo the curatorial themes.

艾迪．馬丁內斯《遙不可及的植物》 2007 年 油彩 噴漆 畫布 152.4 x 121.9 cm

羅芙奧 2021 春拍「薈萃國際：現代與當代藝術」編號 067 成交價 TWD 9,000,000

Eddie Martinez, Out of Reach Plant, 2007, oil and spray paint on canvas, 152.4 x 121.9 cm Ravenel Spring Auction 2021 Select: Modern & Contemporary Art, lot 067, sold for USD 321,429

艾迪．馬丁內斯《無題（盆花）》 2010 年 油彩 壓克力 噴漆 矽膠 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」 編號 067 成交價 TWD 24,000,000 Eddie Martinez, Untitled (White Flower Pot), 2010, oil, acrylic, spray and silicone on canvas, 152.4 x 121.9 cm Ravenel Autumn Auction 2020 Select: Modern & Contemporary Art, lot 067, sold for USD 842,105

National Participations are open to applications from independent government institutions worldwide. Within the Giardini, 30 countries have their own pavilions, either maintaining dedicated structures or using suitable buildings in the city.

In 2024, 88 countries participated, with Russia and Israel absent due to war-related controversies. Taiwan, appearing as a National Pavilion for the first time since the 46th edition in 1995, rented the Palazzo delle Prigioni near the Bridge of Sighs. However, due to protests from the Chinese government, Taiwan was removed from the National Pavilion list in 2003 and participated as a Collateral Event instead. Yet, it is still regarded as the "Taiwan Pavilion" due to its proximity to St. Mark's Square. China, on the other hand,

acquired a National Pavilion starting from the 51st edition in 2005, ten years after Taiwan. In 2024, the China Pavilion was located in the Arsenale, where the Biennale organizers granted it exceptional treatment. The pavilion was situated near the media area and had the largest exhibition area. The location of National Pavilions at the Venice Biennale has always been a display of national power and economic status, reflecting the intertwining of art and politics.

Additionally, there were 30 Collateral Events approved by curators, promoted by non-profit organizations and international groups, held at various locations around Venice. Each of these events enriches the diversity of the Biennale and amplifies various voices of expression.

"The world needs artists"

The Vatican City is the heart of Rome, home to the most magnificent and grandiose churches and top-tier museums. In order to bridge the gap between religion and art, the Holy See Pavilion made its debut as a National Pavilion at the Venice Biennale in 2013. Founded by former Pope Benedict XVI, it aims to encourage a stronger relationship between art and the church.

This year, Pope Francis visited the Holy See Pavilion's exhibition titled "With My Eyes" to commemorate human rights and marginalized communities. His visit garnered widespread attention as Pope Francis became the first pope to set foot in the Venice Biennale.

"Pope Francis, the compassionate pontiff, met with artists in Venice and conveyed the message that "The world needs artists." He believes that artistic works can help address issues such as racism, xenophobia, ecological imbalances, "fear of the poor," and inequality.

In response to this year's Venice Biennale theme, "Foreigners Everywhere," the Pope stated: "No one is a stranger." "Beside you, I do not feel like a stranger. I feel at home." He emphasized that through the love of religion, there is no criticism, only closeness and encouragement towards people.

The Pope affirmed that "Venice has always been a place of encounter and cultural exchange, showing the symbol of beauty to everyone." Therefore, the Venice Biennale holds a sacred and important position in the world."

San Marino Pavilion

In addition to the Vatican City, another microstate within the Italian territory, nestled among the mountains, is the esteemed "Republic of San Marino." Most of its buildings are in shades of beige, giving off an elegant and noble atmosphere. San Marino is the third smallest country in Europe, with an area slightly larger than that of the Vatican City and Monaco combined. It is the world's oldest existing republic, and the entire country is a UNESCO World Heritage Site. Despite not being a member of the European Union, it uses the euro as its official currency. Its economy relies mainly on finance, industry, services, and tourism. With a population of just over thirty thousand people, San Marino is one of the wealthiest countries in terms of GDP per capita.

艾迪．馬丁內斯《紐約電力》 2010 年

油彩 壓克力 噴漆 畫布 121.9 x 152.4 cm

羅芙奧 2021 春拍「薈萃國際：現代與當代藝術」編號 066 成交價 TWD 8,400,000

Eddie Martinez, New York Electric, 2010, oil, acrylic and spray paint on canvas, 121.9 x 152.4 cm

Ravenel Spring Auction 2021 Select: Modern & Contemporary Art, lot 066, sold for USD 300,000

Historically and geographically, as a small country, being friendly to its neighbors and maintaining neutrality is its way of survival. Therefore, liberalism and peace have always been symbols of San Marino. Apart from possessing significant tourism resources and internationally renowned institutions, in the previous Tokyo Olympics, five athletes from San Marino competed and won one silver and two bronze medals. Therefore, it's no surprise that in the arena of art, San Marino also makes its presence felt. Since 2005, there has been a San Marino Pavilion at the Venice Biennale. Known for its hospitality and refuge, they have initiated the "Friendship Project," inviting curators to participate and collaborating with international artists.

In 2024, the San Marino Pavilion presented a solo exhibition by Eddie Martinez, who has Latin American heritage. The exhibition was curated by Alison M. Gingeras, an art historian and writer who has previously worked at the Guggenheim Museum, the Centre Pompidou in Paris, and the Palazzo Grassi in Venice. The exhibition took place at the "La Fucina del Futuro" exhibition space near the Arsenale, continuing the same venue used for the 2023 Architecture Biennale. The venue, formerly an abandoned foundry, has a rugged and primitive interior, resembling an artist's studio. Martinez seamlessly brought the creative passion and energy of his New York studio to the "La Fucina del Futuro" in Venice. The transformation of the former foundry into a weathered art gallery highlights Martinez's vibrant contemporary energy through his beautiful paintings.

Eddie Martinez's grandfather was an immigrant from Puerto Rico in Latin America, with a Spanish surname, and their family itself reflects the history of immigrants. The theme of the San Marino Pavilion this time is "Nomader," which refers to a group without a fixed abode, often migrating seasonally within a defined territory from one place to another. The exhibition theme metaphorically alludes to the increasing number of international nomadic peoples in today's world who must migrate due to survival issues, seeking a place to settle and make a living. Martinez's own nomadic upbringing echoes the behavior of nomads, oscillating between representation and abstraction, mixing various styles of artistic creation.

He is a low-key artist who is dedicated to his work, specializing in painting, and has recently even transformed painting into sculptural forms. Curator Gingeras believes that, in terms of English wordplay, "Nomader," is a newly coined term, with a noun transformed into a verb. The pronunciation of "Nomader" sounds similar to "No matter," a pun implying "it doesn't matter" or "it's okay," both semantically and conceptually echoing Martinez's work and improvisational style.

Gingeras mentioned: "Just as the Biennale's curatorial theme embraces the notion of 'Homo Migrans' - the supposition that to be human means to migrate, to physically move, mentally change, and traverse cultures and identities – so does the visual universe of Martinez's oeuvre. Martinez has allowed his work to formally and conceptually migrate from the legacy of automatic drawing, and abstraction practiced by the CoBrA group to his distinctive take on post-Philip Guston cartoony figuration, as well as his unusual revisitation of various classical art genres such as still lifes and portraiture. His experimental, heterogeneous practice is everchanging, deploying different media as if always trying to make his visual language foreign to himself."

艾迪．馬丁內斯《底特律的傻瓜》 2019 年

油彩 噴漆 墨 簽字筆 蠟筆 紙本（單一件） 76 x 51 cm

羅芙奧 2021 秋拍「薈萃國際：現代與當代藝術」編號 063 成交價 TWD 1,560,000

Eddie Martinez, Blockheads for Detroit, 2019, oil, spray paint, ink, marker and crayon on paper (unique), 76 x 51 cm Ravenel Autumn Auction 2021 Select: Modern & Contemporary Art, lot 063, sold for USD 56,277

Diligent Painter: Eddie Martinez

Eddie Martinez was born in 1977 at the Groton Naval Base on the east coast of the United States in Connecticut, where his family moved constantly since his childhood. His father was a contractor responsible for painting buildings. After his parents' divorce, he followed his father, and painting on walls was a very common pastime for him from a young age. During his youth, his family moved between California, Florida, Texas, and Massachusetts, spanning almost the entire United States. They later moved back to the Northeast, where he enrolled at the Art Institute of Boston, but he found that his art was actually more aligned with urban culture and imagery, so he decided to leave school after a year.

It can be said that Martinez's childhood was characterized by change, lacking the stability of a traditional family, resulting in fragmented tendencies in his painting and themes. His nomadic upbringing always made Martinez feel like an outsider, as did his Latin-accented surname, hiding the bloodline genes of a long European migration and Spanish colonial history. It wasn't until adulthood that Martinez finally settled in Brooklyn, New York. Painting gave him comfort and a sense of home.

When Eddie Martinez is seen by others, he is invariably engrossed in drawing. Always armed with a notebook, he diligently records his inspirations, using myriad fragments and exercises to breathe life into his paintings, a practice that has garnered him stellar reviews from art critics. Reflecting on his debut in the art world, Martinez's work made its initial appearance at the ZieherSmith Gallery booth during the NADA Art Fair in Miami in December 2005. Following this milestone, in 2006, he held a solo exhibition at ZieherSmith's New York gallery, where he began to refine his abstract yet whimsical artistic style. Over the course of approximately two decades, Martinez has showcased his work at numerous prestigious galleries, art fairs, museums, and institutions on an international scale.

Some of his notable museum exhibitions include a solo show titled "Ants at a Picknic" at the Davis Museum in Massachusetts in 2017, "Studio Wall" works on paper exhibition at The Drawing Center in New York, the "White Outs" sculpture and painting exhibition at the Bronx Museum in New York in 2018, and "Fast Eddie: New Paintings" at the Museum of Contemporary Art Detroit at the end of 2019, as well as a solo exhibition titled "Open Feast" at the Yuz Museum in Shanghai. His exhibition history is extensive and comprehensive.

Currently, notable public institutions that own works by Martinez include: the Davis Museum at Wellesley College, the Kemper Museum of Contemporary Art in Kansas City, the Jumex Collection in Mexico City, the Los Angeles County Museum of Art in LA, the Modern Art Museum of Fort Worth in Texas, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the National Gallery of Art in Washington D.C., the Pennsylvania Academy of Fine Arts in Philadelphia, the Pérez Art Museum in Miami, the RISD Museum in Providence, The Bronx Museum of the Arts, The Marciano Collection in LA, The Morgan Library in New York, and The Saatchi Collection in London. There are also some significant private collections, including those of prominent figures in the world of intellectual property, such as Jordan's Abu Ghazaleh, Hiscox in London, and Taiwanese singer and musician Jay Chou.

EDDIE

Blue-chip artists' exhibitions span three continents this year

Currently, Eddie Martinez is primarily represented or collaborated with by four galleries, working together to promote and hold solo exhibitions: Blum Gallery (formerly Blum & Poe) in Los Angeles, Mitchell-Innes & Nash in New York, Timothy Taylor Gallery in London, and Galerie Max Hetzler in Berlin. In the past few years, Perrotin Gallery has held several solo exhibitions for Martinez in Asia. However, Martinez has recently disappeared from the list of artists on the gallery's official website.

In terms of promotion in Asia, the exhibition "Eddie Martinez: To Be Continued" is currently being held at Space K Seoul, a cultural and artistic sharing space under the Kolon Group in Korea, from March 14 to June 16, 2024, which has received great acclaim. Looking back, Martinez's work has been well received in the Asian market. Of the top 20 records of artists at auctions in the attachment, 15 records were set in Asian auction houses. The year 2020 was particularly active for him in the auction market, with annual sales transactions of at least tens of millions of dollars.

Despite some adjustments in the market for contemporary artists in recent times, Martinez's secondary market prices remain strong. According to the Artnet price database, as of early April 2024, Martinez has had 414 works auctioned, with 46% of them selling above the high estimates. The prices of his paintings range from US$100,000 to US$2 million depending on the size.

Furthermore, his work is active in the primary market (galleries). His works have been present at popular art fairs such as Frieze New York, Frieze London, Art Basel Basel, and Art Basel Hong Kong. According to a report from Artnet News on April 14, at the primary market, Martinez's small drawings start at a minimum of US$12,000, while the price of his oil paintings can go up to $600,000. At last year's Frieze London, Timothy Taylor Gallery's booth was adorned with Martinez's small paper sketches, with prices ranging from US$12,000 to US$40,000, achieving impressive sales.

In addition to the Venice Biennale and the exhibition in Korea mentioned above, two sculptures by Eddie Martinez will be installed outdoors at Navy Pier in Chicago. This is a public art exhibition in collaboration with Navy Pier and the Chicago World Expo, running from

▲ 艾迪．馬丁內斯《無題》 2015 年 墨水 彩色鉛筆 紙本 22.9 x 30.5 cm

羅芙奧 2021 秋拍「現代與當代藝術」編號 277 成交價 TWD 360,000

Eddie Martinez, Untitled, 2015, ink and color pencil on paper, 22.9 x 30.5 cm

Ravenel Autumn Auction 2021 Modern & Contemporary Art, lot 277, sold for USD 12,987

◀ 艾迪．馬丁內斯《無題》 2015 年 油彩 壓克力 漆 畫布 101.5 x 76.6 cm

羅芙奧 2023 春拍「現代與當代藝術」編號 253 成交價 TWD 2,640,000

Eddie Martinez, Untitled, 2015, oil, enamel, acrylic, spray paint on linen, 101.5 x 76.6 cm

Ravenel Spring Auction 2023 Modern & Contemporary Art, lot 253, sold for USD 86,106

April 5 to August 25, 2024. The first exhibition in collaboration with the artist at Galerie Max Hetzler in Berlin will also begin on June 7, 2024. Following this, from June 30 to September 29, 2024, the Parrish Art Museum in New York State will host a solo exhibition titled "Eddie Martinez," featuring seven 3.7-meter-tall giant butterfly paintings, along with the release of prints.

From abstraction, sleepers, birds, flowers, still life, blockheads, tabletops, to mandalas, these are several recurring themes in his paintings. After becoming a father, butterflies, which his son loves, have become a frequent subject of his recent creations. Martinez is constantly documenting the migration of life and memories, deeply integrating them into his artistic creations. Martinez has always been an outstanding bluechip contemporary artist, diligently creating.

2024 will be a busy year for him, and we eagerly anticipate seeing his bright, bold, and colorful paintings and sculptures firsthand.

MARTINEZ

艾迪．馬丁內斯作品二十大拍賣成交排行

高空飛行的鳥 High Flying Bird

2014

Watercolor, gouache, board, enamel, spray paint, thumb tacks, paper collage on canvas

274.6 x 365.8 cm

預估價 Estimate

HKD 1,200,0001,800,000

成交價 Sold at

USD 2,009,749

HKD 15,725,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong November 23, 2019

無題 Untitled

acrylic, silkscreen, enamel, spray paint on canvas

x 274.3 cm

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

2018

Silkscreen ink, oil, spray paint, enamel and paper towel on canvas

190.5 x 243.8 cm

預估價 Estimate TWD 14,000,00022,000,000

成交價 Sold at USD 1,465,263

TWD 41,760,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel, Taipei December 5, 2020

經驗主義的精神狀態 Empirical Mind State

2009

Oil, spray paint on canvas

182.8 x 274.3 cm

人們為了打倒你而吹捧你 They build you up to knock you down 2009 Oil, acrylic, spray, collage, silicone on canvas 183 x 275 cm

預估價 Estimate

GBP 100,000150,000

成交價 Sold at USD 796,493

GBP 615,000

拍賣日期 Auction Date

倫敦蘇富比 Sotheby's, London February 11, 2020

預估價 Estimate

HKD 2,000,0003,000,000

成交價 Sold at USD 772,710

HKD 6,000,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 24, 2021

預估價 Estimate

HKD 2,400,0003,800,000

成交價 Sold at USD 1,068,931

HKD 8,285,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong July 10, 2020

3 8 4 9

七月的聖誕 Christmas in July 2016 Oil, acrylic, spray paint, silkscreen ink, enamel, collaged paper on canvas 273.7 x 359.8 cm

預估價 Estimate

HKD 3,500,0004,500,000

成交價 Sold at USD 763,168 HKD 5,922,000

拍賣日期 Auction Date

香港富藝斯&保利 Phillips & Poly, Hong Kong June 8, 2021

島I Island I

Oil, enamel, spray paint, collage and thumb tacks on canvas 183.5 x 274.4 cm

預估價 Estimate HKD 3,200,0005,200,000

成交價 Sold at USD 992,017

HKD 7,690,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong December 2, 2020

無題（盆花） Untitled (White Flower Pot) 2010 Oil, acrylic, spray, silicone on canvas

152.4 x 121.9 cm

預估價 Estimate TWD 6,000,0009,000,000

成交價 Sold at USD 842,105

TWD 24,000,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel, Taipei December 5, 2020

無題 Untitled 2015

Oil, acrylic, spray paint, enamel on canvas 183 x 275 cm

幾乎迷失4號 Almost Lost #4

2012

Oil, spray paint on canvas

182.9 x 152.4 cm

預估價 Estimate HKD 4,200,0006,200,000

成交價 Sold at USD 724,613

HKD 5,625,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 25, 2021

預估價 Estimate

HKD 1,000,0001,500,000

成交價 Sold at USD 709,323

HKD 5,550,000

拍賣日期 Auction Date

香港富藝斯 Phillips, Hong Kong November 24, 2019

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

製表／陳子萱 Jenny Chen (Update 2024.04.29; Source: Artprice.com, Sotheby's, Christie's, Phillips, Ravenel, YongLe)

隆隆聲 Rumble

2012 Oil, spray paint on canvas

152.9 x 213.6 cm

激烈反抗#2 Up in Arms #2

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

無題（盆花） Untitled (Flower Pot with Yellow Background)

2020 Oil, acrylic, spray paint on linen

182.9 x 152.4 cm

預估價 Estimate HKD 600,000800,000

成交價 Sold at USD 664,870

HKD 5,215,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong October 6, 2019

預估價 Estimate

HKD 600,000800,000

成交價 Sold at USD 647,819

HKD 5,070,000

拍賣日期 Auction Date

香港富藝斯 Phillips, Hong Kong November 25, 2019

廢棄城堡的鑰匙 Keys to a Defunct Castle

2015 Oil, acrylic, enamel and spray paint on canvas

183 x 274 cm

桌子，桌布，桌子#2

Table, Quilt, Table #2

2008

Acrylic, oil, spray paint on canvas

186 x 244 cm

預估價 Estimate

USD 480,000680,000

成交價 Sold at USD 615,000

拍賣日期 Auction Date

紐約佳士得 Christie's, New York March 5, 2020

預估價 Estimate RMB 2,800,0003,800,000

成交價 Sold at USD 613,197 RMB 3,910,000

拍賣日期 Auction Date

北京永樂 YongLe, Beijing December 3, 2021

預估價 Estimate

HKD 3,800,0005,500,000

成交價 Sold at USD 642,051

HKD 5,040,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 26, 2022

13 18 14 19

功虧一簣 You Come Up Short

2016

Silkscreened inks, oil paint, enamel, spray paint, thumbtack, palette paper, metal on canvas

182.9 x 274.3 cm

預估價 Estimate GBP 200,000300,000

成交價 Sold at USD 592,586 GBP 471,000

拍賣日期 Auction Date

倫敦富藝斯 Phillips, London July 15, 2020

TOP 20

情書#20

Love Letter #20

2017-2018 Oil, enamel, silkscreen ink, collage, push pin on canvas

243.8 x 190.4 cm

無題 Untitled

2007 Oil, oil stick, spray paint on unstretched canvas

182.9 x 305.1 cm

預估價 Estimate HKD 700,0001,200,000

成交價 Sold at USD 641,914 HKD 4,975,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong July 9, 2020

快樂繪畫 Happy Painting

2014

Acrylic, oil, spray paint on canvas

182.9 x 152.4 cm

預估價 Estimate GBP 200,000300,000

成交價 Sold at USD 616,054

GBP 466,200

拍賣日期 Auction Date

倫敦富藝斯 Phillips, London December 9, 2021

情書#16

Love Letter #16

2017

Silkscreen ink, oil and enamel on canvas

243.8 x 190.5 cm

預估價 Estimate USD 100,000150,000

成交價 Sold at USD 548,000

拍賣日期 Auction Date

紐約蘇富比 Sotheby's, New York November 15, 2019

預估價 Estimate

HKD 800,0001,200,000

成交價 Sold at USD 496,082

HKD 3,845,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong July 11, 2020

在葡萄酒資訊相對稀缺的 1970 年代， Robert Parker 因不信任 主流媒體 《 Decanter 》及 《 Wine Spectator 》與酒商們過從甚密的 互惠關係，以一介素人之姿創辦了 《 Wine Advocates 》雜誌。

他沒有受過正規葡萄酒教育，和大部分美國學生一樣，在成 長過程中 Robert Parker 都是喝一些便宜劣質的葡萄酒。直到去了 一趟巴黎，由於餐廳裡可樂比酒貴，勉為其難一試之下，赫然發 現與他過去的葡萄酒經驗大不相同，甚至大大提升了他的用餐體 驗，於是開始了他對葡萄酒的瘋狂迷戀，為了方便收藏紅酒，他 甚至把在馬里蘭州的公寓長年控制在低於攝氏 13 度的環境。

身為一名律師， Robert Parker 的工作包含將艱澀的法律用語 以簡單直接的方式轉述讓客戶理解，因此當進入葡萄酒界時，他 秉持著相同的簡潔用語和直言不諱的態度，無論是褒是貶。而正 是這種簡單明瞭的 100 分制和淺顯易懂的酒評，讓他在一眾專業 酒評中異軍突起，迅速獲得和他一樣非專業出身酒迷們的支持。

Robert Parker 在品飲上有著非常明顯的偏好，例如他熱愛波 爾多、卻很少給予勃根地和自然酒正面評價，他討厭低酒精濃度 的葡萄酒、喜歡有著明顯過桶氣息的華麗葡萄酒，許多人因此指 控 Robert Parker 將葡萄酒的審美標準化。但也因為他的影響力， 隆河、加州、澳洲等許多過去缺乏世界舞台的產區如今能走入國 際市場。也因為他接地氣的葡萄酒語言，讓更多的消費者擁抱葡 萄酒。

在過去 20 年間，消費者已經習慣參考專家的意見來挑選酒款， RP 的影響力滲透到葡萄酒世界的每個角落，深深影響著 1980 年 代至今的葡萄酒消費趨勢，得到 RP 高分評價的酒款，在一級市場 的定價會高出同儕許多，對於在二級市場上流通的收藏與投資型 酒款來說，更可能出現四五倍甚至更高的價格差異。

除了他的 RP 與 WA 評分，葡萄酒界還有如勃根地的 Allen Meadows (BH) 、 James Suckling (JS) 、香檳區的 Richard Juhlin (RJ) 、 Antonio Galloni 的 Vinous 等酒評，都是葡萄酒玩家的重 要參考與指南，但影響力卻遠遠不及如今已正式退休的 Robert Parker 。

在威士忌界， 《 Whisky Bible 》的 Jim Murray 有著與 Robert Parker 最相似的野心。

從事報社記者的 Jim Murray ，自 1975 年參觀了人生第一座蒸 餾廠 Talisker 後，便愛上了威士忌，開始不斷走訪威士忌酒廠，積 累大量相關知識與經驗。 35 歲那一年他毅然決然離開了媒體業， 成為一位全職威士忌作家。

有趣的是，由於當時專精在威士忌的評論家或作家並不多， 每當酒廠或品牌有新品要推廣時，除了邀請葡萄酒專家外別無他 選。而 Jim Murray 決心跨入專業威士忌領域的初衷，正是因為他 厭倦了葡萄酒作家們對威士忌的胡言亂語。

2003 年他開始出版年度威士忌聖經《 Whisky Bible 》，由他 個人單獨品嚐，並以 100 為總分給予評價，每一年的新版都會加 上約 1,000 種威士忌的品酒筆記與評分。他把自己定義為翻譯官， 傾聽威士忌的聲音，將之翻譯成英語。

品飲評分對他來說是專業而慎重的，為確保自己的味覺與嗅 覺處在正確且穩定的狀態，他的品飲空間必須不受其他氣味的干 擾並始終維持相同溫度，並在進行威士忌品鑑的那段時間嚴格控 制自己的飲食與生活習慣。在評分時，他基本上不吞酒，而是會 像葡萄酒品鑑那般吐酒，也會在一天的不同時間點數次品嚐。對 他來說「均衡」是一款高分酒款所需具備的最重要特質。

Jim Murray 熱衷於挖掘新世界的威士忌，不吝嗇給予高分評 價。藉著《 Whisky Bible 》的全球推廣，愛爾蘭、日本、印度與英 國的威士忌在過去幾年開始有了更多的國際舞臺。

然而，曾在威士忌屆呼風喚雨的 Jim Murray 近幾年由於其評 分的公正性、及其威士忌評論敘述中摻雜大量物化女性的不當言 論，儘管在自己的作品中如何描述品飲心得的確是作者的言論自 由，不過其適當性與公正性正受到業界的嚴厲撻伐。

Robert M. Parker 為葡萄酒雜誌 The Wine Advocate 的創始人， 可以說是世界上最具影響力的葡萄酒評論家。

Robert M. Parker, the founder of The Wine Advocate, arguably the most influential wine critic in the world. Photo Credit: Robertparker.com

能夠長時間穩定產出、秉持著相同基準建立評分機制與系統， 這對於專業人士還說已然不易，對於素人來說更非易事。在威士忌 圈中除了 Jim Murray 外，另外有一位素人數十年來如一日地不斷 耕耘著，那就是創立 whiskyfun 網站的 Serge Valentin 。

1960 年出生的法國人 Serge Valentin ，於 2002 年開始了他的 威士忌品飲筆記，時至今日，網站上已有近兩萬款威士忌與三千多 款其他烈酒的品飲紀錄。儘管單純是在記錄品飲， Serge 認為給予 分數會讓自己在做酒款間的比較時更加容易且有依據，但既然要評 分，就必須盡量降低場合、心情等帶來的變數，因此 Serge 每天會 在差不多的時間、坐在家中差不多的位置，一次品嚐並比較 3 至 5 款同酒廠或類似產區、類似風味的酒款。此外，每一天的品飲都會 從一個基本校正酒款開始，也許是 Ardbeg 10 年、也許是 Highland Park 12 年，從熟悉的酒款去校正自己的味蕾，確認今天的狀態是 否在穩定的水平。同時，作為一位純粹的威士忌愛好者， Serge 非 常理解心情是會給品飲帶來影響的，情緒不對的日子他也不會強迫 自己品飲。種種規則追求的是每一次品飲評分的穩定。

最重要的是， Whiskyfun 網站至今仍是全然無商業介入的無廣 告 (ad-free) 狀態，二十年來如一日地記錄著他對威士忌與爵士樂 的愛好，唯一的變動是 2017 年加入了與他口味相近的好友 Angus MacRaild 的評分。他的品飲過程也較一般烈酒比賽來得更長一些， 從顏色 (Colour) 、聞香 (Nose) 、加水後的聞香、口感 (Palate) 、加 水後的口感、尾韻 (Finish) ，再到最後的評論 (Comment) 與評分， 屏除了一般烈酒競賽中口味較重、或特色較為突出酒款的高分。

因此，儘管 Serge 同樣有著強烈且明顯的個人偏好，由於沒有 利益的牽扯與考量，他的分數逐漸成為大家參考的重要指標之一， 也可以說是迄今為止威士忌界最有話語權的素人。

從葡萄酒界的 Robert Parker 再到威士忌的 Jim Murray 和 Serge Valentin ，他們在資訊搜集相對匱乏的年代，就開始在這條 路上耕耘著，慢慢建立起一套屬於自己的味蕾知識系統，爾後因著 網路的興起而被傳播而崛起，漸漸成為了行業中的權威人物。

如今，社交媒體上各式素人網紅與 Influencer 如雨後春筍般地 湧現，專業素養不再是必要，這種轉變為過去二三十年間建立的酒 評生態帶來了挑戰，專業酒評家的影響力不再像以往那般絕對。

無論如何，我們必須認知到，任何酒評的撰寫本質上是主觀 的，因為品味和喜好本身就是因人而異的，我們不能因為評論家明 顯的偏好就否定其評論的價值。作為一位酒類愛好者，我們感謝這 些酒評家為我們神農嚐百草，無論這些評論是否貼合我們的喜好， 他們的存在都讓我們更多面向地去瞭解和欣賞酒類世界。

In 1970s, when wine information was relatively scarce, Robert Parker, mistrusting the mainstream media's mutual relationships with wine merchants, founded Wine Advocates magazine as a layman.

With no formal wine education, Parker, like most American students, grew up drinking cheap, low-quality wines. It wasn't until a trip to Paris, where wine was cheaper than cola, that he discovered a significant difference in wine quality, leading to a fervent passion for wine. For the sake of storing red wine conveniently, he even kept his apartment in Maryland at a temperature below 13 degrees Celsius throughout the year.

As a lawyer, Robert Parker's job involved translating complex legal terms into simple and direct language for clients to understand. Therefore, when he entered the wine world, he maintained the same concise language and straightforward attitude, whether praising or criticizing. It is precisely this simple clear 100-point scale and easily understandable wine reviews that have set him apart in the realm of professional wine critics, quickly gaining support from wine enthusiasts who, like him, are not professionally trained.

Robert Parker has very distinct preferences when it comes to wine tasting. For instance, he has a strong affinity for Bordeaux but rarely gives positive ratings to Burgundy and natural wines. He dislikes wines with low alcohol content and favors elaborate wines with evident oak influences. Many accuse Robert Parker of standardizing the aesthetic criteria for wine. However, due to his influence, regions like the Rhône Valley, California, and Australia, which previously lacked international exposure, are now able to enter the global market. Additionally, his down-to-earth language about wine has encouraged more consumers to embrace wine.

Parker's influence penetrated every corner of the wine world, profoundly shaping wine consumption trends from the 1980s to the present day. Wines rated highly by Parker often command significantly higher prices in primary markets, with differences in secondary market pricing reaching four or five times higher or even more.

◀ Jim Murray 自 2003 年起出版《 Whisky Bible 》，逐漸成為威士忌界的重要指南

Jim Murray is the author of the Whisky Bible, the world's most authoritative whisky guide, evaluating thousands of whiskies annually.

Photo Credit: Whiskybible.com

In addition to Parker's RP and WA ratings, other wine critics such as Allen Meadows (BH) in Burgundy, James Suckling (JS), Richard Juhlin (RJ) in Champagne, and Antonio Galloni's Vinous serve as important references and guides for wine enthusiasts. However, their influence pales in comparison to Robert Parker, who has now formally retired.

In the world of whisky, Jim Murray of the Whisky Bible has ambitions similar to Robert Parker's.

Jim Murray, who worked as a newspaper reporter, fell in love with whisky after visiting his first distillery, Talisker, in 1975. He began to continuously visit whisky distilleries, accumulating a vast amount of knowledge and experience. At the age of 35, he made the bold decision of leaving the media industry and becoming a fulltime whisky writer.

Interestingly, at that time, there were not many experts or writers specializing in whisky. Whenever a distillery or brand wanted to promote a new product, they had no choice but to invite wine experts. Jim Murray's determination to enter the professional whisky field stemmed from his frustration with wine writers' nonsense about whisky.

In 2003, he began publishing the annual Whisky Bible, tasting each whisky by himself and rating them on a scale of 100. Each new edition adds approximately 1,000 whisky tasting notes and scores. He defines himself as a translator, listening to the voice of whisky and translating it into English.

For him, tasting and scoring whisky is a professional and cautious process. To ensure that his taste and smell are in the correct and stable condition, his tasting space must be free from other odors and maintained at a consistent temperature. He also strictly controls his diet and lifestyle during whisky tasting period. When scoring, he typically does not swallow the whisky but spits it out, similar to wine tasting. And he would taste the same whisky multiple times at different times of the day. "Balance" is the most important quality that a high-scoring whisky must possess for him.

Jim Murray is passionate in exploring whiskies outside of Scotland and is generous with high ratings. Through the global promotion of the Whisky Bible, whiskies from Ireland, Japan, India, and the UK have gained more international recognition in the recent years.

However, in recent years, Jim Murray, who once wielded significant influence in the whisky world, has faced severe criticism from the industry due to questions about the fairness of his ratings and the inappropriate remarks about women that are often intertwined in his whisky reviews. While how an author describes their tasting experiences in their own work is a matter of freedom of speech, the appropriateness and fairness of such remarks are being harshly criticized by the industry.

Being able to consistently produce and maintain a scoring mechanism and system based on the same standards for a long time is not easy for professionals, let alone for amateurs. In the whisky world, apart from Jim Murray, there is another amateur who has been tirelessly working for decades, and that is Serge Valentin, the founder of the whiskyfun website.

Serge Valentin, born in 1960 in France, started his whisky tasting notes in 2002, and to this day, the website has records of nearly twenty thousand whiskies and over three thousand other spirits. Although simply documenting his own tasting notes, Serge believes that giving scores makes it easier for him to compare between whiskies and provides a basis for assessment. However, since scoring requires minimizing variables such as occasion and mood, Serge tastes and compares 3 to 5 kinds of whiskies from the same distillery or similar regions and flavor profiles at roughly the same time and location at home each day. Additionally, each tasting session starts with a baseline whisky, perhaps Ardbeg 10 years old or Highland Park 12 years old, to calibrate his palate and ensure consistency. As a pure whisky enthusiast, Serge understands that mood can influence tasting, so on days when he doesn't feel right, he refrains from tasting. All these rules aim to achieve consistency in each tasting and scoring session.

Most importantly, the Whiskyfun website remains entirely free of commercial influence and advertisements to this day. For twenty years, it has consistently documented Serge's passion for whisky and jazz, with the only change being the addition of ratings from his like-minded friend Angus MacRaild in 2017. His tasting process is also more extensive than typical spirits competitions, covering aspects from color, nose, nosing after adding water, palate, palate after adding water, finish, to the final comments and scoring, excluding the higher scores often given to spirits with heavier flavors or more pronounced characteristics in typical spirits competitions due to the short tasting time.

自 2002 年至今日，網站已累積近兩萬筆的品飲紀錄。

Therefore, despite Serge's strong and distinct personal preferences, his scores have gradually become an important benchmark for reference, especially because they are not influenced by commercial interests or considerations. It can be said that he is one of the most authoritative amateurs in the whisky world to date.

From Robert Parker in the wine world to Jim Murray and Serge Valentin in the whisky realm, they began their journey in an era of relatively scarce information, slowly establishing their own knowledge systems of taste. With the rise of the internet, their expertise spread rapidly, elevating them to authoritative figures in their respective industries.

Today, a plethora of social media influencers are emerging on various platforms, rendering professional expertise seemingly unnecessary. This shift presents a challenge to the wine and whisky reviewing ecosystem established over the past two three decades, with the influence of professional critics no longer as absolute as they once were.

However, we must acknowledge that all reviews are inherently subjective, as taste varies from person to person. Regardless of personal preferences, we appreciate these critics for guiding us through the vast world of beverages, enriching our understanding and appreciation of the craft.

Serge Valentin 是一位法國威士忌愛好者，也是網站 Whiskyfun 的創始人。

Serge Valentin is a French whisky enthusiast and the founder of the website Whiskyfun.

Since 2002, the website has accumulated nearly twenty thousand tasting notes.

Photo Credit: Leblogaroger.eu & www. whiskyfun.com

BRILLIANT HERITAGE EMBRACED WITHIN THE WALLS OF PROSPEROUS FAMILIES

Text / 劉允華

Photo / Ravenel International Art Group

財富、名聲與珠寶之間的關聯，似乎自然而然；自古以來，乘載 著千年累積的審美技藝，卻不流於一味跟隨科技演進的珠寶，相對於名 車、名錶等高貴配件，不僅以其珍稀的價值，更是以其永世閃耀的天然 礦石光澤與設計巧思而脫穎而出，成為傳世經典。名流對珠寶的無比熱 愛，也造就了驚人的收藏熱度。據估計，瑪丹娜、碧昂絲等當代明星就 各擁價值 3.5 億美金的各式珠寶，臉書創辦人馬克佐伯格坐擁 2 億 4 千 萬美金的珠寶收藏，老虎伍茲個人收藏即達 2 億 9 千萬，蕾哈娜的珠寶 藏品價值甚至達到 4 億美元之譜。

這自然不是當代專屬的現象。凡有文明以來，無論皇室貴族或富賈 巨商，皆有蒐藏珍稀礦石珠寶的傳統，特別在各種重要場合上，由頂級 工坊設計的珠寶配件彙集了礦石的璀璨與匠人的精工巧思，成為新識故 舊間相互餽贈的首選，見證了伴侶、家人或摯友的動人情誼。這些時常 交由名匠精心雕琢的作品，能牽起源遠流長的近身史話、標誌國家貴胄 的分合起落，甚至也讓我們一瞥名門世家牆圍裡彷彿埋藏的心事。像是 梅隆夫人與珠寶巨匠尚．史隆伯格彼此以創意相敬，終身相惜的故事， 在夫人手中大師設計的珠寶藏品間一覽無遺；英國女王大葬時，家人紛 紛配戴代表與這位家長之間情誼不絕的各式飾品出席，也顯出貴族奢華 中低調內蘊的優雅姿態。

於是，歷史上最著名珠寶中的大多數，若非希望藍鑽或光之山皇冠 綴鑽那樣滿載大時代的歷史，就是如拿破崙送給妻子的鑽石項鍊與瑪瑙 皇冠、葛莉絲王妃與黛安娜公主的訂婚戒指、洛克斐勒夫婦長年收集的

Cushion-Shaped Fancy Blue Diamond and Pink Diamond Ring

大量藏品、伊麗莎白泰勒丈夫為她收購的諸多精品等等。不僅讓人見到 各世代匠師獨特的巧手慧思，同時也承載名流生涯中處處皆可入史話的 重要時刻，交織出時光長流中亙久璀璨的一面。

另一方面，儘管知名人士的珠寶收藏能因慷慨捐贈和拍賣活動等機 會而得以面世，但仍有更多精品源源不絕地進入私人收藏家的視野，成 為賞玩或贈與至親的首選。既可保值、易於安置或移動，更具有高度的 私密性，讓您輕易掌握專屬於自己的資產。

羅芙奧精品部懂得您收藏與傳承財富的心意。因此也願建議您，品

◀ 3.02 克拉正彩淡藍色鑽石及 3.01 克拉正彩灰藍色鑽石配粉紅色鑽石耳墜，附 A PAIR OF 3.02 CARAT FANCY LIGHT BLUE DIAMOND, 3.01 CARAT FANCY GREYISH BLUE DIAMOND AND PINK DIAMOND PENDENT EARRINGS

▶ 2.04 克拉枕形正彩藍色鑽石配粉紅色鑽石戒指，附 GIA 證書 A 2.04 CARAT CUSHION-SHAPED FANCY BLUE DIAMOND AND PINK DIAMOND RING

Radiant-Shaped Fancy

Deep Pink Diamond

It all seems natural, the connections among the wealth, the fame, and the jewelries. From thousands of years ago, the jewelry retained the accumulated expertise and evolved despite technological advancements. Unlike other luxury accessories like vintage cars and watches, jewelry stands out, not because of its valuable rarity, but also for its everlasting and natural brilliance and incredible creativity, and finally becoming iconic.

The incomparable fascination of jewelry among the celebrities has made its incredible popularity. Estimates states that modern stars like Madonna and Beyoncé collected jewelries at the amount of $350 million each, while Facebook founder Mark Zuckerberg occupied about $240 million. Tiger Woods' personal collection arrives at $290 million, and Rihanna's jewelry collections are valued as great as $400 million.

This would not be a phenomenon exclusively existing in the modern times. From as far as the beginning of the civilization, the aristocrats and wealthy merchants kept well the tradition of collecting rare gemstones and jewelries. At the significant occasions especially, jewelry accessories crafted by the most

esteemed ateliers possess both the brilliance of gems and intricate crafts of the masters, would be gifted, and treasured among new friends and old pals. They witnessed therefore the cherished relationships between partners, families, and dearest friends. These pieces, often finely crafted by renowned masters, can evoke intimate stories, mark the troubled lives of states and celebrities, even let us peek into the private affaires within the walls of noble houses. Stories such as the mutual respect between Mrs. Mellon and jewelry master Jean Schlumberger as creators throughout their whole lives can be revealed by the collection of Schlumberger creations by Mrs. Mellon. Or otherwise, like at the funeral of Queen Elizabeth, those discreet yet firmly representative jewelries of each of the families for their enduring affection with the late Queen, highlighting the modest sophistication as the aristocratic elegance.

◀ 1.05 克拉雷迪恩明亮形深彩粉紅色鑽石， ARGYLE 礦區，附 ARGYLE 、 GIA 證書

A 1.05 CARAT RADIANT-SHAPED FANCY DEEP PINK DIAMOND, ARGYLE MINE ▶ 2.02 克拉及 2.20 克拉梨形正彩紫粉紅色鑽石配鑽石耳墜，附 GIA 證書

A PAIR OF 2.02 CARAT FANCY PURPLE PINK DIAMOND, 2.20 CARAT FANCY PURPLISH PINK DIAMOND AND DIAMOND PENDENT EARRINGS

Fancy Purplish Pink Diamond and Diamond Pendent Earrings

Consequently, most of the famed jewelries In the history would be conveyers of the great epochs like Hope Diamond or Koh-i-Nur, or intimate objects like the diamond necklace and crown of agate gifted by Napoleon to his queen, the engagement rings of Grace Kelly and Princess Diana, the great collection amassed over decades by the Rockefellers, or the many fascinating pieces acquired for Elizabeth Tayler by her husband. These treasures not only showcase the unique craftsmanship and creativity of the masters in their eras, but also encapsulate the pivotal moment worthy of history in the celebrities' lives. They weave a timeless and brilliant tapestry depicting the great stream of time.

On the other hand, while the jewelry collection of celebrities would become public by ways of generous donations and auction events, even more treasures continue to join in the flux available for the private collectors, serving as a great option for admiration or inheritance. Those can retain their value and be easy to store or transport, but also offer a great deal of privacy, allowing you to effortlessly manage your assets.

At the Luxury Department of the Ravenel group, we understand you as a collector and preserver of wealth. We would like to advise you to see, besides the bright gems and creative crafts, the many contexts behind an exquisite piece. Understanding how jewelry pieces circulate between private persons, firmly binding countless friendships over the centuries, and finally becoming cherished treasures among the celebrities, these can make you more prepared to guide your exclusive collection to be passed down to the coming generations.

「純粹工藝是 LOEWE 的精髓。」對手工藝的執著， 也是表達自我的一種生活方式。

作為 LOEWE 時裝設計總監， Jonathan Anderson 將傳統與現代完美融合的獨特手工藝，成功地為古老 西班牙皮革老牌 LOEWE 帶來一種現代藝術的氣質。

Text / 袁青

Photo / LOEWE

除了服裝設計，同時兼任策展人，擅長舉辦各種展覽推廣喜 愛藝術的 Jonathan Anderson 此刻，正把第一個在亞洲首展的上海 「 Crafted World 」展，定調為「向畢生奉獻的工匠致敬」，試圖 從西班牙文化傳統以及手工藝切入，帶領觀眾體驗 LOEWE 工藝 世界。

十九世紀創業的 LOEWE ，初期為西班牙皇室御用供應商，隨

後被 LVMH 集團收購，回溯 LOEWE 品牌於 1846 年在馬德里以 皮革工藝起家，逐步發展成奢華品牌的歷程，有如穿越時間、空 間、材質和製作技術的互動旅程。

曾談及對藝術品收藏總是樂此不疲的執念：「無論鍋碗還是 花器，從早期英國紡織品，到黑白攝影、抽象繪畫及雕塑，」迷 戀陶瓷的 Jonathan Anderson 說，喜歡把『過去』 、『現在』融合 在一起！

2016 年， Anderson 創立了 LOEWE 工藝獎，用以表彰將傳 統技藝應用於現代藝術的優秀藝術家。在他率領下遍尋世界各地 手工藝人並與其合作，探尋各種手工技法來詮釋 LOEWE 古老的 皮革藝術。思考將設計具象化，再將這些形狀運用到產品設計； 2015 年，他親自操刀為 LOEWE 設計的第一款 Puzzle Bag ，果真 推出後即成為時尚界的 IT Bag 。

上海展覽中心隆重揭幕的「 Crafted World 」展，設有九個互 動展廳，一探製作工坊幕後風光，並了解繁複工序的製作生產， 居中扮演関鍵角色的現任創意總監 Jonathan Anderson ，透過時尚 探索並反映當代，每每與眾不同的藝術創意，不跟風的「玩味」 美學，不但大受新世代追捧，而大步走自己的路的 LOEWE ，証明 時尚和藝術的交流，正是通往永續的最好實踐。

透過服裝比例，甚至刻意讓輪廓產生位移的效果， LOEWE 設 計師 Jonathan Anderson 不斷拋出他的時尚實驗觀點。

大頭針固定的巨型如罐裝露背上裝；貫串起上衣、長褲與鞋 子的寬鬆皮革連身衣、大幅拉高褲腰；又讓毛衣變得像充氣般種 種超現實怪奇裝束，引人遐想；反而在基本款的 Polo 衫、條紋襯 衫、牛仔褲等單品，以滿版細緻水鑽，顛覆日常裝束。

小日子愈來愈不好過，何不讓穿著的創意帶來一點兒樂子呢？

創意上身

無壓力低碳飲食

「零廢棄」餐廳正夯

Text / 伊森 Photo / Silo Spill

「垃圾是用來扔的」這句出自具有革命性意義的 餐廳座右銘很 cool 。慶幸的是，這並不意味著食 客被迫留在餐桌旁，吃完盤子裡的每一口食物。

而是先進的餐飲團隊對所有「廢物料」再利用的 處理，贏得引領「零廢棄」餐廳先鋒的美名。

時尚工業最早意識到環保是趨勢，也是未來的商 機。如今，飲食界也加入永續行列，而且現在不只一 種選擇。號稱「沒有垃圾桶」的餐廳，不只蔬果皮各 種邊角料都能重新入菜，就連食品包裝還有容器，甚 至餐廳裡裝潢都是「零浪費」。餐飲界用行動證明， 環保可以兼顧精緻美味，吃大餐不該該背負擔心製造 大量碳足跡的罪惡感。

起源於 2011 年的澳大利亞，當時藝術家 Joost Bakker 提出了「沒有垃圾箱」的概念。從那時起， Silo 餐廳廚師兼老闆道格拉斯 (Douglas McMaster) 努 力朝成為世界上第一家「零浪費」餐廳發展，而且他 做到了。

曾在 St. JOHN 、 The Fat Duck 和 Noma 等世界 頂級廚房工作了一段時間，主廚 McMaster 於 2011 年在雪梨測試了他的零廢棄物概念（最初名為 Zerowasted ），之後， 2014 年返回英國，開設了 Silo 餐廳 並將環保飲食願景帶到倫敦。

CUISINE

目標是打造世界上第一家零浪費，與 永續藝術家 Joost Bakker 合作，提出創建 沒有垃圾箱的 Silo 餐廳的挑戰是，透過「無 包裝」交付產品、現場研磨麵粉以及將廢 料和邊角料轉化為堆肥的堆肥機，徹底實 現了「循環經濟」概念目標。

蔬菜往垃圾桶裡丟，是一般餐廳稀鬆 平常的事，但看在有心的主廚眼裡卻很心 疼。如果，要用一個詞來形容零廢棄，「就 是自然界完美的循環。」在叢林海洋或沙 漠中都找不到垃圾桶。這正是通過「零浪 費」餐廳實現的目標。

「零浪費」創意可不是只為了減少廢

棄食材，就犧牲口感。系出名門，跟號稱 世界第一的 NOMA 主廚師出同門，美味依 然是餐廳的最優先考量。「我們形容我們 的食物為『超自然的小農食品』，農民 會善用一切，是 Silo 餐廳學藝背景，也 是世界上最好的餐廳的菜色靈感來源。

所有食材就連蔬果皮都能拿來入 菜，其他包括蝦蟹的殼也都能成為調 味料。

像這樣的減碳概念，主廚一再強調 要讓民眾可以在沒有壓力的情況下，也 能享受低碳飲食。因此，「從哪裡得到這 些食材、如何烹飪、怎麼安排酒單 」

如今，以生態時尚的開放式餐廳聞名的 Silo 遷至倫敦哈克尼威克 (Hackney Wick) 。 Silo 「 take Two 」在白色大樓內與 CRATE Brewery 佔據同一 地點。

Silo 的開業具有革命性意義。其經營座右銘 很簡單：「垃圾是用來扔的」。慶幸的是，這並 不意味著食客被迫留在餐桌旁，吃完盤子裡的每 一口食物。而是餐廳團隊對廢物料的處理，為 Silo 贏得引領「零廢棄物餐廳」先鋒的美名。

Silo 供應當地生產的農產品，將剩餘食物轉 化為堆肥，將簡短而活潑的菜單投影到牆上（而 不是印在紙上），並避免使用塑膠容器中的產品。 這在 2019 年聽起來可能比較常見，但該餐廳在五 年前就在永續餐飲方面處於領先地位。

SILO

家具是用後工業材料製成的 Silo 餐廳，位居中心的開放 式廚房裡火光熊熊燃燒著。那些渴望看到打破餐飲常規的客 人，可以在一個由回收玻璃瓶製成的大櫃檯前找個座位，觀看 廚師在進行的所有烹調細節的流程。

餐廳全天開放。早到的人可以享用時令水果粥，或是泡 菜、黑布丁和新鮮出爐的酸麵團的煮雞蛋。之後，客人可以從 不斷變化的菜單上的 15 種菜餚中進行選擇；比如，鯖魚韃靼 配紫蘿蔔和味噌品嚐美味。

當客人爬上塗鴉廊橋旁的運河邊鑄鐵樓梯時，總會對與 Silo 餐廳優雅簡約內部空間和外面古老的可可烘焙工廠的大型 鋼框窗戶、裸露的鋼桁架和網狀羊毛屋頂隔熱層，形成的對比 感到驚訝。

開創性的高品質材料、精心製作的工藝以及零浪費的心態 構成了 Silo 餐廳設計的基礎。其目的是循環再利用。內部由

廢物或精心採購的天然材料組成，這些材料可以生物降解，且 很容易拆卸，以便重新利用。遵循後工業精神，選擇與當地手 工藝者合作，使用古老的技術，並以創新材料和技術達平衡 。

迎接客人的是一個由邊角料和其他無法使用的木材組成 的看台，這些木材被層壓在一起，然後重新雕刻。懸掛著一盞 用採摘的海藻製成的吊燈。

地板是一片由純天然軟木製成的溫暖海洋，這些軟木是 從軟木橡樹的樹皮上手工採摘的，不會傷害樹木的負碳產品。 十八個座位的長餐吧台可俯瞰廚房，在用餐者、廚師和食材之 間形成親密的聯繫。吧台正面採用再生皮 革包裹，餐檯則是聚 酯包裝廢料製成，兩者均經過手工製作變成美麗、優雅的新表 面。 12 公尺長的吧台，可以重複回收。

這都是開心的，用餐應該是一種歡樂體驗， Silo 餐廳所做 的一切，証明了，「誰說永續不能也是一種新的奢華享受 ? 」

瑞典 SPILL 星級餐廳 使命很簡單

用原本會被浪費的食物端出好料

從食材著手的「零廢棄」，成為餐飲界的 環保趨勢；瑞典的 Spill 餐廳的使命很簡單—— 用原本會被浪費的食物再製作美味佳餚。由

Erik Andersson Mohlin 主廚和負責前檯的太太 Ellinor Lindblom Mohlin 夫婦倆經營的 Spill 餐 廳，利用供應商淘汰，或快過賞味期限的食材 做成的美味。並且鼓勵消費大眾加入「對環境 友善」的環保行列。

餐廳位在一座高層辦公大樓大廳的空間。 牆壁粉刷成粉紅色，有公共桌子和鮮花的這兒， 感覺像一個現代化的食堂。每天從餐廳供應商 那裡獲取剩餘農產品供應兩道，一葷一素，美 味而且經濟實惠的菜色；重點是，如何發揮創 意，將剩餘農產品充分運用，重新烹調成好料， 而且保証品質及口味不打折扣。

決定每天 Spil 餐廳，一葷一素菜單的是， 原本可能因為賣相不佳而被丟棄的果，或是快 要過了賞味期限的食材，但在這對米其林星級 餐廳主廚夫妻的創意發想下，直接成為盤裡的 美味料理。

餐廳共同創辦人 Ellinor：「不想這麼浪費， 而且會提高成本；唯一的辦法，就是將餐廳經 營成減碳的範例。」減碳是目標，但享受美食 不應該有製造碳足跡的罪惡感，這種從食材著 手的環保，很快就被市場接受，而且反應出奇 的好。

精緻料理並不需要在食材上挑三減四，造 成大量浪費。更無須在環保與美味之間令人難 以兼具。來 Spill 餐廳用餐的消費者說：「菜色 好吃又不會良心過意不去；我每週至少來這裡 一次，」對環境友善的飲食習慣和方法，必須 有人埋單，不然一切都是枉然。

春天永續策展人

SHIATZY CHEN 夏姿．陳

Text / 方紅 Photo / SHIATZY CHEN 夏姿‧陳

關 於一粒來自 6000 餘年，原產於 中國的「漢麻」種子，如今成了台 灣時尚「東方不敗」夏姿，輕扣「永 續時尚」大門的春夏藝術之作。

SHIATZY CHEN 夏姿．陳攜手法國藝術家，結合法 國當地藝術農場的「漢麻」原料，勾勒出東西方對於神話 中「海龍」躍然飄逸，舉止含風的想像；而通透舒展的天 然纖維，正好迎來「可持續性」時尚的未來趨勢。

法國藝術家 Daniela Busarello 的畫，深淺不一的各色 淡彩，彷如承載大地風情；而經由數位藝術將其轉化，在 以漢麻為畫布，透過經典刺繡工法，成了夏姿春衫夏衣上， 東西交融，今時兼具的時裝意象。

成立於 2020 年的法國藝術工作坊 91.530 Le Marais ， 以『環境永續』為其宗旨，致力研究並開發產於中國的漢 麻農作物多元化的經濟價值，也藉由種植過程蟲害及土壤 的重金屬的等低污染、可再生、可循環等有助維護自然生 態，為地球環保盡一份心力。

距離巴黎 50 公里處佔地約 350 公頃的漢麻農場，設 有一間展覽中心，透過科學、藝術和時尚不同視角的運用 和推廣；目前漢麻纖維可以造紙、生物降解塑料及作為建 築材料、燃料等用途。

被夏姿作為永續核心織品的這款天然纖維，據研究表 示，不但是麻類纖維中最柔軟的，而且漢麻纖維具有「抑 菌、吸濕快乾、不產生靜電等天然機能性」，紫外線遮 蔽率達 95% 以上，在 370 ℃高溫時不變色，甚至加溫到 1000 ℃時也僅碳化而不燃燒，可以說是「最抗紫外線和耐 熱的天然織品。」

以一場藝術、自然與時尚科技的交融， SHIATZY CHEN 夏姿．陳，喚起人們對歷史文明美學的領悟之餘， 如今更展現高端精品的國際社會責任，跟上時代腳步，以 行動呼應「綠色時尚」潮流的真情，自然而永續。

Text / EDDIE Photo / HERMES GUCCI

將工業生產視為藝術多元表現途徑之一的米蘭家 具展，致力於通過受人尊敬的工匠及義大利豐富 的設計傳統進行共生交流，重新定義當代設計。

扮演引領居家設計趨勢之先角色的高端精品愛馬 仕 HERMES 和古馳 GUCCI ，不受時間和流行 趨勢影響，跳脫時空 ，卻又連結關於地球資源、 材質與傳統工藝之間對話的家居之作，體現對於 「生活型態」的探索 。

2024 年，愛馬仕 HERMES 沿著以大地為主題的旅程，喚起人們 與周圍環境的關係，「磚塊、石頭、石板、木材和地層」—帶有彩 色幾何圖案的馬術騎士服既是品牌經典象徵，亦是皮革製品和紡織 品的靈感來源。

皮革縫製的水桶、籃子和桌面擺件均由馬鞍皮革工匠製作而成。 精緻的漸層色調披毯和全新尺寸的喀什米爾羊絨，床罩上體現編

小牛皮籃子

使用馬具和皮革工藝 技術製造系列物件。 毛毯

籃、水桶造型物件和餐桌擺飾 這裡使用的材質是為了探索結構、比例、 兩側彩色皮革條經過手工穿孔與縫合，盤 繞成一個籃子，皮革鑲嵌的餐桌擺飾飾有圖形圖案。 工匠傾 盡所有技藝，將柔軟的皮革轉變成堅固實用的家飾物品。

收納盒

鐘錶與珠寶收納盒是品牌經典之作，採用木質材質，四 面均有皮革包覆。畫家徒手將墨水繪製在皮革上，以輕盈細 膩的筆觸描繪出無數的線條和圓點。

餐瓷系列

全新 27 件餐具作品 描繪了馬具上的金飾和編織圖 案，象徵著馬匹與騎士之間的關 係。 瓷器的白色瓷土凸顯了 Virginie Jamin 創作的輕盈紋理 設計，餐瓷上點綴著薄荷綠、檸檬黃或石油藍，並繪有環狀 裝飾結與棉繩圖紋，流露出法式風格。

手工喀什米爾披毯

落日、黎明、自然元素、明暗對比⋯喀什米爾羊絨毯採 用漸層色調設計，給人無限的舒適感。 在尼泊爾手工紡紗、 手工編織和手工染色製作。 對比色編織而成的彩色細繩鑲 邊， 每條流蘇均沿其長度染色至一半，為天然喀什米爾披毯 帶來變化。

GUCCI DESIGN ANCORA

5 件訂製「復刻版」家具

開雲集團旗下， Gucci 是全球奢侈品翹楚，在持久精 緻之間保持微妙平衡的創新，造就了義大利精製手工藝 的價值。

Gucci 品牌創意總監 Sabato De Sarno 與 Michela Pelizzari 共同策劃特別的 Gucci Design Ancora 家具展。

透過西班牙建築師 Guillermo Santomà 構思的沉浸式展

覽，五款訂製的復刻版義大利經典設計作品於 Gucci 蒙 特拿破崙大街精品旗艦店內展出。也同步在 gucci.com 官 網販售。

代表義大利設計的黃金年代，同時也提醒人們與 設計師、品牌、工藝與工業生產之間的重要關係。所有 復刻的家具都換上創意總監 Sabato De Sarno 所提出的 Rosso Ancora 深紅色，象徵著 Gucci 全新的創意篇章。

家具展展間綠色弧形牆壁為每件家具構築出獨自存 在的一種理念空間。每一件融合設計、建築、雕塑的家 具都獨一無二且無可挑剔；跨領域的櫥窗視覺陳列中， 一雙結合 3D 列印元素和 Gucci 獨家 Demetra 材料的限量 版運動鞋，讓時尚和居室產生一種品牌的共通性。

沙發模組

宛如羅馬城牆上氣勢恢宏的新雕巨石，勾勒出一幅 「室內景觀」，滿足人們不斷適應生活的需求。

模組化設計的沙發被設計為多元的空間，為居家提 供了充滿變化的生活形式。值得注意的是沙發借用服裝 元素的皮帶細節，表達空間「居住」的時尚氛圍，可以 想像在此進行閱讀、交談、聆聽和互動。

藉由地毯頌揚對義大利建築師、城市規劃師和歷史 學家留下的遺產的濃厚興趣。地毯織出圖案和色彩變化， 重 塑米蘭代表性建築、豪宅和室外建案地板、門廊、瓷 磚和馬賽克等原始風貌 。

裝飾圖案超越任何時代分類，是經典又仍能詮釋當 代特色。

從手工紡織最柔軟的材料到使用淨化後清洗，每一 道符合環保的生產步驟，深刻尊重材料和這項古老工藝 文化的態度；每一張獨一無二的地毯，並非量產，而是 為那些喜愛蘊含著不朽的文化故事的居家提供訂製服務。 地毯

櫻桃木收納櫃

精湛木工傳統工藝是義大利設計的標杆。

以形式和材料的對比跨越設計界限，打破室內 空間的單調感。圓潤造型極富風情的抽屜漆上原色霧 面顏色，讓天然木材的簡潔縱向櫃身結構有著豐富表 情。尊重原始設計之際，調整新的比例和做工。

玻璃器皿

年代對創作有著滿腔熱情，許多工藝品喚起對東 方瓷器優雅美感的回憶。清新簡約的風格重新詮釋這 些形式主題。單色設計後來被稱為 Opachi ，展現莊重 和古典優雅的精髓。採用威尼斯獨有精湛吹製工藝的 花瓶系 Venini 眾多品項的瑰寶。

每個花瓶都以其純粹的形式而與眾不同。優雅的 線條組成輪廓和，突顯出穆拉諾玻璃熠熠生輝的手工 吹製玻璃的無比成就。百餘年來，玻璃工坊的藝術， 為一個始於義大利但揚名世界的文化遺產注入生命。

檯燈

它是完美融合工藝、工業和設計的典範。精緻、 平衡又輕盈的檯燈，猶如技術寶庫，運用了三種玻璃 及加工工藝。完美的有色半透明乳色玻璃球體，在頂 部穿孔，代表對穆拉諾玻璃的傳統致敬。

透明的凹形支架桿包裹著虎紋織布電源線。整 個燈具安放在圓形的天然水晶底座上，既堅固又有空 靈。可控制 Parola 檯燈直接照射的燈源，透過裝飾藝 術和理性主義，讓 GUCCI 的復刻燈具散發時代感美 學和功能。

臺南 400

你可以再「亮」一點

《光雕藝術》的一下步

Text / Ethan Photo / 陳怡潔 x 瘋戲樂工作室

「世界都有裂縫，那就是光進來的方式。」「光」是時間，是歷史； 而對台灣藝術家陳怡潔來說，是藝術創作的當代媒材；透過光雕 《靈動的目光》，點亮了古 都光采和未來。

臺南會展中心有如鯨魚腹造型的獨特建築結構， 老遠看去，恰如一隻長達 85 米的「眼睛」，也像富有 意象的一件巨大裝置藝術；夜暮低垂，聲光乍響，靈動 轉睛，成了今年臺南燈會「城里有光」展區有別傳統花 「燈」，令全場聚焦的光雕藝術《靈動的目光》。

「光雕不受限制；也很合乎環保。」藝術總監陳怡

潔說；幾乎動員了包括；影像、音樂、動映、插畫、饒舌、 文字旁白等超過千人的這件集體藝術創作，不點不亮的 関鍵在於，突破傳統民俗對「光」的意涵和「燈」的造型； 更在於集當代潮流文化的「藝術」創新和價值。

擅於反映大眾媒體文化現象並展現時代意義的台灣 新銳藝術家陳怡潔，連手音樂總監王希文的跨界合作， 視覺上從宮廟藝術到街頭文化，展現傳統到新世代的迭 變；而結合傳世南管與古調、嘻哈饒舌音樂，傳遞臺南 府城多元族群和人文風貌傳奇的這件大型「光雕」，娓 娓道來 400 年府城在地的故事，既切中燈會「城里有光」 的主題又展現當代藝術的新意。

暮光漸漸，橢圓形眼睛裡，聲光投影開始流轉的光 雕《靈動的目光》在圍攏的人群聚精會神的目光下，開 場了。

著悠悠臺南西拉雅族的布落古調響起，伴隨奇幻 又當代的「鳳凰之眼」動畫，緊扣經由取樣技術揉和電 子樂的百年南管樂，牽動著觀眾眼睛。「光是時間，照 映歷史，也照亮眼前每一刻。且讓我們穿越時空，追尋 藏在光裡的記憶和未來。」時而溫柔又富感染力的旁白， 引發對於台南歷史傳奇與土地情感的共鳴。

接著，串連四段關於跨世代城市的光雕集錦；先是 敘事性地饒舌曲調，描繪臺南地方和美食的文化底蘊； 以各族群語言為聽覺符號的一首兼容並蓄的創作歌曲， 低迴唱出多元文化的價值；接著邀請南藝大學生採集臺 南在地聲音素材的「聲景」藝術音樂，即使我這個外地 人，目不轉睛地看著，細細 著，都不由得對古都的傳 奇和未來動容。

透過採擷融合多元文化的在地獨特美學，呈現『最 臺南』的生活情境、街巷風情，以及飲食百味等，承載 傳統歷史記憶的視覺動畫及古調影音的光雕《靈動的目 光》，一氣呵成，絕無冷場。感染著現場或站或席地而 坐的每一個人。

樂音一轉，現場每一個追光的眼中，倒映著光雕裡 一幅由七百多張，臺南八所國小小朋友彩繪組成逐格動 畫的鳳凰，在飛翔，在追逐。這時耳畔，彷彿聽見藝術 家陳怡潔悄悄地解說；「傳說臺南府城藏著一隻鳳凰。 鳳凰的頭在赤崁，五條港，是祂的翅膀」

光，是時間；是歷史的引導，也代表著未來和希望。

點亮，「站在這裡，這裡就是家，」一場燈會，一 件光雕，一種文化的自信。看見臺南「我最酷」的驕傲！

眾神守護的藝術 「踏查」廟宇文化

藝術家陳怡潔於公於私對臺南都有一份特殊的感情；在 「南藝大」完成藝術博士學位，跟著愛好美食的爸媽也常會 想起這裡的牛肉湯和玉米；更不用說這次為了『靈動的目光』 光雕創作，取樣城市傳統記憶，而循著專家腳步紮紮實實的 「踏查」行動。尤其 「眾神之都」之稱的臺南府的廟宇，卻 是走它千遍也不厭倦。

於是，我跟著陳怡潔也走了一圈古都；走進街區蜿蜒的 蝸牛巷弄，循著尋根臺南一級古蹟的廟宇的踏查，親見傳藝 的人間國寶級技師們，粧佛、剪黏、彩繪、木刻下，所描畫 的神靈世界，感動於穿越世代的寶貴文化資產，是如此地庇 佑和傳承這片土地四百年來的繁茂和綿延。

從綜觀古今的視 ，臺南作為臺灣歷史最悠久的城市之 一，最引人注目的就是廟宇文化。擁有超過 1600 座廟宇，如 同 1600 多座美術館，和包括文創景點以及新潮酒吧等等，都 是臺南獨特的城市文化景觀。

廟宇帶領著信仰，承載了豐富美學。臺南在這個基礎上 融入了多元的文化和族群共榮；剪黏、糊紙的製燈工藝、粧佛、 刺繡以及彩繪工藝匠師的手藝在祀典武廟、在北極殿、在赤 崁樓。陳怡潔說：「廟不僅是宗教場所，更是展現地方獨特 傳統工藝最最佳指標。」

喝過手中冬瓜茶，怎麼能錯過臺南「再發號」的肉棕和 豬腦湯，日頭己落的古都，走在午后光影中的孔廟，我問以 轉置動漫色彩，探索時代藝術創作為代表的陳怡潔，什麼是 臺南的顏色 ? 色彩是人類深沈的文化記憶；「紅磚和土地， 代表凝聚、豐厚的生活底蘊。」忽然，我彷彿看見光雕藝術《靈 動的目光》裡那個瑞氣千條的古都臺南府多元共榮的 。

CULTURE

用動漫色彩

記錄當代

台南藝術大學藝術創作理論博士陳怡潔。代表性的藝術 創作是透過轉置動漫色彩，受邀許多國際藝術家駐村計畫的 經歷不僅激發豐富的創作能量，也開闊視野。今年臺南燈會 作品「靈動的目光」運用光雕探索世界。

從繪畫到裝置，透過轉置動漫美學色彩產生創作靈感是 陳怡潔“擁抱 " 藝術的初心；抽取小熊維尼、跳跳虎等角色 的色彩，讀取蝙蝠俠、蜘蛛俠、超人和飛天小女警等漫畫人 物的顏色，比如紅黃相間的閃電俠的霹靂，或彌漫童真的飛 天小女警的粉色，完成相對理性的同心圓《函數色彩》，展 現深具時代意義、反應 眾媒體 化觀察的藝術性。

近期常透過新媒體演出，展現跨界連結能量和與未來性， 例如台北世大運、 101 跨年煙火秀、金鐘獎影像總監；而四度 操刀策劃國慶總統府建築光雕展演，獲德國紅點設計獎的陳 怡潔說，《光雕》是一種「可持續性」創作的藝術趨勢。