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EXPOSITION | « Si on fait une œuvre parfaite, les dieux la reprennent tandis que s'il y a une erreur, elle reste humaine. » Cy Twombly.
如果我有選擇的話，我希望可以成為普桑——巴黎龐畢度中心賽．湯伯利回顧展
撰文／鄭元智
美國畫家賽．湯伯利（Cy Twombly）於1970年完成的〈無題〉一作，屬於「黑板繪畫」系列作品之一，於2014年11月佳士得紐約戰後當代藝術拍賣會中，以6900萬美元的高價賣出。而一年之後，同系列的另一件1968年作品〈無題，紐約市〉則於2015年11月在蘇富比紐約戰後當代藝術拍賣會中以7000萬美元賣出，這些驚人的拍賣高價，讓人不難想像若在今天要舉辦一場藝術家的回顧展，將需要花上多少的心力與費用？光憑這點，即是不能錯過巴黎龐畢度中心於2016年11月底開幕的賽．湯伯利回顧展的理由之一。
賽．湯伯利的同名展覽結集了百件以上的作品，展品從全球各地借出，從美國休斯頓（Houston）的梅尼勒私人典藏、費城美術館與紐約現代美術館（MoMA）到德國漢堡車站國家藝廊、科隆路德維希美術館與慕尼黑布蘭德霍斯特美術館、義大利尼古拉．戴爾羅希修基金會、卡蜜拉．奈斯比特私人典藏、法國亞維農市朗伯典藏美術館、巴黎路易威登基金會與皮諾私人典藏。而位於紐約的賽．湯伯利基金會更為了本展出借了許多重要的畫作與所有的攝影作品，使得展覽規模前所未見，特別的是，這個展覽也具有相當特殊的私人情懷。策展人尤納斯．史托斯夫（Jonas Storsve）在展覽專文中，即談到他於2011年如何透過藝術家的伴侶尼古拉．戴爾羅希修的來信得知他病危入院的消息……，而藝術家信中友善的字句更讓他理解到：「湯伯利事實上期望他有一天可以舉辦一場回顧展，而在五年後的今天，這個期望最終得以成真。」
（本文節錄自《藝術家》雜誌第500期「國際藝壇」單元）
Edwin Parker "Cy" Twombly, Jr. (/saɪ ˈtwɒmbli/; April 25, 1928 – July 5, 2011[1]) was an American painter, sculptor and photographer. He belonged to the generation of Robert Rauschenberg and Jasper Johns but made the specific choice to live in Europe (Italy) after 1957.
https://en.wikipedia.org/wiki/Cy_Twombly
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Our Cy Twombly page provides visitors with Twombly's bio, over 90 of his works, exclusive articles, and up-to-date Twombly exhibition listings. The page also includes related artists and categories, allowing viewers to discover art beyond our Twombly page. We would love to be included as an additional resource for your visitors via a link on your page. --Matt D
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The Art of Cy Twombly
"Camino Real II" from 2010.
Cy Twombly, whose spare, childlike scribbles and poetic engagement with antiquity left him stubbornly out of step with the movements of postwar American art even as he became one of the era's most important painters, died on Tuesday in Rome. He was 83. Mr. Twombly with his painting "1994 Untitled (Say Goodbye, Catullus, to the Shores of Asia Minor)," in 2005.
Mr. Twombly's career slyly subverted Abstract Expressionism, toyed briefly with Minimalism, seemed barely to acknowledge Pop art and anticipated some of the concerns of Conceptualism. At left, his 1953 piece "Tiznit."
"Untitled (Funerary Box for a Lime Green Python)" from 1954. The critic Robert Hughes called Mr. Twombly "the Third Man, a shadowy figure, beside that vivid duumvirate of his friends Jasper Johns and Robert Rauschenberg."
"Nini's Painting" from 1971. Mr. Twombly, a tall, rangy Virginian who once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses — often literary ones, like Catullus, Rumi, Pound and Rilke. He seemed to welcome the privacy that came with unpopularity.
"Untitled" from 2007. After completing a work, in a kind of ecstatic state, it was as if the painting existed but Mr. Twombly himself barely did anymore: "I usually have to go to bed for a couple of days," he said.
"Untitled" from 2005. In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was "the actual experience" of making the line, adding: "It does not illustrate. It is the sensation of its own realization." Years later, he described this more plainly. "It's more like I'm having an experience than making a picture," he said.
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