604
604
嶋本昭三
爆發64-1
估價
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拍品已售 20,500,000 港幣 成交價 (含買家佣金)
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604
嶋本昭三
爆發64-1
估價
Premium Lots
In order to bid on "Premium Lots" you must complete the required Premium Lot preregistration application and deliver to Sotheby's such necessary financial references, guarantees, deposits and/ or such other security as Sotheby's may in its absolute discretion require, as security for your bid. Sotheby's decision whether to accept any pre-registration application shall be final. We recommend you contact Sotheby's at least 3 working days prior to the relevant sale in order to process the pre-registration, and please bear in mind that we are unable to obtain financial references over weekends or public holidays. If all lots in the catalogue are "Premium Lots", a Special Notice will be included to this effect and the paddle symbol will not be used.
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
10,000,00015,000,000
拍品已售 20,500,000 港幣 成交價 (含買家佣金)
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拍品詳情

筆道II: 彩潑天下

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香港

嶋本昭三
爆發64-1
一九六四年作
款識
1964年作,《爆發64-1》(於藝術家名片上簽署並貼於作品背面)
油畫畫布 畫框
239 x 179 公分 ,94 x 70½ 英寸
參閱狀況報告 參閱狀況報告

來源

大阪,辻畫廊
美國私人收藏
現藏者購自上述來源

展覽

比利時,安特衛普,Vervoordt畫廊〈 Shimamoto – The Gutai Works〉二〇一五年九月三日至十月三日,109頁

相關資料

破壞的色彩
嶋本昭三

「我的技法即使看來驚人而暴烈——向畫布砸瓶子、對畫布發射炮彈[…]我也只是為了創造美而努力。」
—嶋本昭三1

「顏料不從畫筆解放出來就不會有生命。我們要向顏料灌注生命,讓它活起來。」
—嶋本昭三2

《爆發64-1》(拍品編號604)是一場色彩爆發的盛宴,生機勃勃,熾烈耀眼,乃嶋本昭三於具體派草創時期的「擲瓶」繪畫傑作,此時期作品極少數仍存於私人收藏中。嶋本作畫的著名手法是把裝滿顏料的玻璃瓶擲向鋪在堅硬表面或石頭上的畫布,玻璃瓶破碎爆裂,瓶裡的顏料也噴灑而出,形成生氣盎然、極富動感的圖案,令人目眩神迷。一九五六年,嶋本首次以「擲瓶」方法繪畫,一鳴驚人,大開風氣之先,對早期具體藝術貢獻至為重要,為戰後藝術注入不可或缺的動力,體現了從破壞中變革創新、透過徹底毀滅達至重生與解放的力量。一九五八年,嶋本在《舞台上的具體藝術》展覽中展出重要鉅作《物質毀滅》系列,當中他暴烈地砸碎不同物件,例如亮著的電燈泡、載有數以千計乒乓球的管子、或裝滿五彩紙屑的巨大立方體;而在一九五五年一場著名的戶外演出中,嶋本於高聳樹木之間懸掛巨型塑料畫布,並運用乙炔氣體引爆長達四米的炮彈發射顏料,繪下張狂遒勁的圖像。他以破壞作表演,甚具戲劇張力,糅合表演與繪畫兩種藝術,點燃顏料的熾烈活力,爆炸揮灑的材料與洶湧翻騰的人生精神無間融合。嶋本運用視覺語言,使能量活現眼前,以具體派宗師吉原治良的話說,「把爆炸的形態固定在顏料中」。3

嶋本是具體美術協會創立人之一,更是當中最大膽激進的創新先驅,具體之名便出自其手。早於五十及六十年代,嶋本已呈獻一系列激進的跨媒體實驗,作品開創時代風氣,甚至遠在亞倫·卡普羅(Allan Kaprow)的「偶發藝術」及歐洲的「激浪藝術運動」(Fluxus)之前,要到數十年後,人們才懂得以「互動藝術」、「媒體藝術」、「裝置藝術」、「概念藝術」、「表演藝術」等辭彙將其歸類。一九五五年七月,具體派在兵庫縣蘆屋公園舉行首次展覽,題為《挑戰仲夏驕陽的戶外現代藝術實驗展》,當中嶋本呈獻裝置藝術作品《請走上去》(一九五五年作),作品上面鑲嵌的木板有的固定不動,有的會因承受人體重量而下陷。作品邀請觀者在上面行走,體會浮沉不定、詭異難測的感覺,是野心勃勃的概念藝術,然而當時藝術仍然是只可遠觀不可接觸的事物。嶋本於此時期內亦有其他作品,包括以剃刀創作的雕塑;製作底片經刮傷上色的電影作品、投映作品、聲音作品,被譽為媒體藝術先鋒;並繼續在舞台上,或重重觀眾圍觀的大型場館中,呈獻「發射炮彈」、「擲瓶」等經典戶外演出。嶋本的藝術實驗範疇極廣、包羅萬有,且遠在西方探索裝置藝術、表演藝術等領域、以之創作概念藝術前已經出現,成就前無古人。Tijs Visser有以下觀察:「嶋本在創作生涯中獨力所得的成就,通常要數個藝術家才能達到。」4

事實上,嶋本開疆闢土的創作可追溯至一九四九年開始的《穴》系列,當中他刺穿層層相疊的報紙,以暴露報紙的層次,甚至暴露畫作的木質底板。無獨有偶,《穴》系列的創作與盧齊歐·封塔納(Lucio Fontana)於一九四九年在意大利進行一系列空間實驗驚人地相似,但是兩人事先並不知道對方的存在。嶋本在二〇〇二年寫給泰特美術館的一封信中,提及吉原治良在一九五四年遇見封塔納作品時的沮喪心情:「吉原說,無論我們如何堅持我的作品較先出現,但我來自剛剛打輸戰爭的落後東方國家,根本不會有人相信我的話,所以他叫我不要再創作《穴》系列。由於我創作所用的報紙上面有日期,我們最終得以證明作品在早年已製成,但也要等到多年以後才得到平反。」5鑽研具體藝術的學者加藤義夫表示:「要在神聖的畫布表面上穿孔,是從來沒有藝術家想像過的」6——封塔納原本是雕塑家,但嶋本從來沒有接受正式藝術訓練,因此嶋本此舉更顯鮮明大膽,可謂革命創舉。

一九六二年,嶋本是首位在新開張的具體美術館中舉行個展的藝術家。嶋本亦為國際期刊《具體》擔任編輯及出版工作,期刊以日英雙語刊登,分銷予世界各地的藝術家、藝評人、記者、策展人,更建立了藝術評論的交流網絡,延展至法國、荷蘭、意大利、美國等地。具體派於七十年代解散後,嶋本除了繼續為世界各地觀眾表演「擲瓶」繪畫外,更參與創作郵件藝術及大型網絡項目,後者更預示了今天以資訊科技及互聯網為本的社會。嶋本有意透過郵件藝術尋找宣揚和平訊息的方法,一如其不斷重演「擲瓶」的經典演出一樣。嶋本於二〇〇〇年後,每年均會在Nishinomiya Yacht Harbour的紀念地點上演《和平的證明》,當中嶋本被懸吊在半空中,並向混凝土塊擲下顏料瓶子,令人聯想擲下原子彈的畫面。是次上拍作品正是《和平的證明》的前身,印證戰後年代的復甦與重建,並象徵自由與和平,本作面世超過半世紀,但仍是一把暴烈炫目的火炬,喜樂而堅強地燃燒著。

1 〈Breakthrough Performance: A Conversation with Shozo Shimamoto〉,載於《Border Crossings》,第17期,編號2,1998年5月,第42頁
2 嶋本昭三,載於《具體6》,1957年4月1日
3 吉原治良,載於《嶋本昭三》,展覽圖錄,具體美術館,大阪,1962年
4 Tijs Visser,《Between East and West》,2015年
5 Giorgia Bottinelli,《穴》,2002年,載於泰特美術館網站
6 加藤義夫,Christopher Stephens譯自日文,2015年

筆道II: 彩潑天下

|
香港