【Review现场】“意象IMAGO”意大利艺术家Francesco D'Adamo线上艺术展Online Exhibition

从锡耶纳搬到博洛尼亚，是什么让绘画成为您主要的创作方式？

From Siena to Bologna, what has made painting become your main activity?

尽管我从小就很了解绘画，但在我一生中的大部分时间里绘画都不是我的第一要务。然后十年前发生了一些奇妙的机缘，使我重新开始投身于绘画，并且投入了大量时间，从那时起，我就再也没有放弃绘画，从那之后的多年来，绘画已成为我生活中的主要部分，也是我的工作。

For most of my life painting has not been among my priorities, despite the fact that I have been familiar with it since my childhood. Then ten years ago something clicked which made me start again in a very intensive way and since then I haven't stopped, to the point that over the years it has become my main activity, and also my job. I remember well what set all this in motion, namely the desire to devote myself to something accessible and at the same time indefinitely complex, able to enthral you for a long time, a silent activity that could be carried out from start to finish all by yourself. A series of circumstances made all this emerge in a very precise moment, and so far it has never faded away. To answer your question more directly, I would say just a need, ignored for too long, and of which today I would no longer be able to live without.

很坦率地说，绘画给我带来了极大的乐趣，以至于实际上我不再需要其他动力。绘画在不同方面都有影响，在所有这些方面中，我认为它带来的探索感是如此强烈，能够不断给予我继续的动力。显然，多年来我需要构建并专注于我的工作，这使得过程变得更加复杂，总的来说，许多事情发生了变化，但从本质上讲，绘画带给我的感觉并没有改变。

I'll be very honest, the act of painting gives me so much pleasure that it ultimately requires no other motivation. It has an impact on many different levels and among all of them, I think the sense of discovery is so strong to keep regenerating my motivation. Clearly, over the years I needed to structure and focus my work, the process became more complex and in general many things changed, yet at its core that feeling has remained the same.

我认为这个观点非常巧妙并且富有启发性，我们可以将其理解为创作鲜活作品的邀请，但颜色/光线和声音是不同的物理现象，不会互相影响，人类会动用身体的不同“工具”去感知它们。然而，我们在人类的生物和文化元素之间建立了不可忽视的联系，当用语言描述图像和声音的时候，常常将形容二者的词汇混合在一起。比如我们可以说一幅画具有清晰的节奏，或者一个乐曲有着暗黑的色调，可以说一个画面很“嘈杂”，也可以说一首歌非常“多彩”。这只是讨论和分享很难用文字表达的东西的另一种方式，在许多情况下，这对于向某人介绍一个未知的东西很有用。另外，我认为绘画的抽象化没有建立者或开始日期，我也不认为具象和抽象绘画存在并置。对我而言，这是同样的描绘和叙述方式，从一开始就与我们共存。但是，毫无疑问，上个世纪的画家如康定斯基，在打开潘多拉盒子的过程中发挥了关键作用。

I think it is a very clever and suggestive statement, and we can read it as an invitation to produce vivid paintings, but colour/light and sounds are different physical phenomena, not influenced by each other and that our body reads with different "tools". Yet biological and cultural elements create connections between them that we cannot ignore and our language, in an attempt to describe them, often mixes images and sounds. So we might say that a painting has a clear rhythm, or that composition has dark tints. An image can be noisy, or a song very colourful. It's just another way to discuss and share something really hard to put into words, and in many cases, it is useful to find a common ground and introduce someone to a lesser-known language. By the way, I don't think the process of abstraction in painting has a founder or a beginning date and I don't want to recognize the juxtaposition of figurative and abstract images. For me, it's all part of the same representation and narration which have been with us since the beginning. However, there is no doubt that the painters from the last century, such as Kandinsky, played a crucial role in opening Pandora's box. 

通过尝试将视觉和音乐的形式价值、基本构成要素和姿态联系起来，试图将一个元素转换为另一个元素，再转换回来，以此建立一种对话和连接。这不是一种风格上的练习，我也不打算证明任何东西，就像上面提到的，音乐和绘画是两个不同且独立的学科，但是，它们是姐妹，经常穿对方的衣服。在我解决视觉和音乐问题时，这种对话对我有帮助，并且我认为这对观众也有帮助，因为这样他们就有更多的方式来阅读所看到或听到的内容。

It does so by trying to put in relation their formal values, their fundamental and constitutive elements, their gestures. Attempting to translate the elements of one into the other and vice versa, in order to establish a dialogue, a link. This is not an exercise in style, nor do I aim to prove anything, as stated above music and painting are two different and independent disciplines. But they are sisters, and they often wear each other's clothes. And this dialogue helps me as I work to solve visual and musical problems, and I think it helps the spectators too as they have more resources to read what they're seeing or hearing.

当代艺术是一种非常广泛的现象，我认为我没有正确回答这个问题所需的分析和综合技能。如果确实有明确的发展方向，也很难确定，但可以肯定的是，不同媒介的混合是个关键。有些当代作品设法用非凡的技巧和智慧将新的语言和传统结合在一起，并且仍然保持着强烈的感官冲击。例如，我想到了孙原和彭禹在2019年威尼斯双年展上的装置“难自禁”或乔治·安德烈奥塔·卡洛在2017年威尼斯双年展上的装置“无题”。他们在不用补充和介绍文化背景的前提下成功地与观众建立了牢固的联系，这是我非常欣赏的另一方面。说到这里，我认为，尽管在当代艺术的海洋中已经出现了许多新的艺术形式，绘画仍然可以发挥自己的作用，保持自己的独特性以及将一直保持神秘性。

Contemporary art is a very vast phenomenon and I don't think I have the analysis and synthesis skills required to properly answer your question. It is difficult to establish its direction if indeed one clearly emerges, but for sure a key element is the mixing of different mediums. There are contemporary works that manage to combine new languages and traditions with tremendous skill, intelligence and still maintaining a strong sensorial impact. For example, the installation "Can't Help Myself" by Sun Yuan and Peng Yu (Venice Biennale 2019) or "Senza Titolo" by Giorgio Andreotta Calò (Venice Biennale 2017) come to my mind. They also succeed in establishing a strong link with the audience without any need for a cultural mediation or introduction, another aspect that I really appreciate. With that being said, I think, although so many new paths have already been covered, even in the ocean of contemporary art, painting can still have its own role, its uniqueness and will always keep its mystery.