Extended through May 31, 2014
Oh! the desire to do pictures of Paris, a little everywhere, there where life has led me, or would leave me, the only way for all this my lithograph crayon, not painting or drawing, just this crayon for capturing on the spot, with no chance of ever erasing or revising, my first impressions.
Gagosian Hong Kong is pleased to present Alberto Giacometti’s complete suite of lithographs Paris sans fin (Paris without end), together with key sculptures, paintings, drawings, photographs, and archival material from the same period, shedding new light on the creation of one of the major artist’s books of the twentieth century.
From the 1930s until his death in 1966, Giacometti continuously investigated the possibilities of accurately representing what he saw before him. Giacometti: Without End celebrates his favorite city and people in 150 lithographs with text, produced between 1959 and 1965 for a diaristic artist’s book. The initial maquette, as well as rare lithographs and drawings intended for the book, isare exhibited here for the first time. Also on view are several important bronze sculptures, including Diego (tête au col roulé) (c. 1954) and Annette assise (petite) (1956), and paintings such as Caroline (1965). Original manuscripts and a selection of photographic portraits by Henri Cartier-Bresson, Eli Lotar, Jack Nisberg, and others provide a contextual backdrop for this book project that occupied Giacometti for nearly six years.
Giacometti’s major undertaking was spurred and encouraged by the publisher Tériade, a close friend and supporter from the time he singled the artist out thirty years earlier in his role as art critic. Just prior to this, Tériade produced Fernand Léger’s La Ville, a book of lithographs that also took the city as its subject. Unlike Léger’s urban labyrinths, Giacometti’s impressions are a shorthand visual account of his daily life—in the studio and in cafés, on the grands boulevards, at the printer Mourlot’s new shop—that demonstrate his unassuming virtuosity. As Mourlot recalled, the range of gray tones that imbue these illustrations with the foggy haze of the city is itself a technical feat.
As in his previous lithographic work, Giacometti did not draw directly onto limestone, as is the traditional method, but onto thin sheets of transfer paper, allowing for easier portability and a more accurate reproduction of the original drawing. He characterized the series as “images and memories of images,” an apt description of the volatile, fleeting scenes: intersections jammed with cars are depicted alongside crisscrossing electric cables and elevated railways; historic buildings surrounded by these symbols of change are rendered in nearly flat perspective. Giacometti’s immediate approach treats a grand montage of models and unfinished works in the solitude of the studio; friends and family in motion; the towers of Saint Sulpice; and the Boulevard Montparnasse, where he frequented the Dome and Sélect brasseries. This grayscale conflation of past and present, old and new, is reflected in his contemplative notes, written to accompany the drawings in the twilight of his life:
The silence, I’m alone here, outside there’s the night, everything is still and sleep is starting to return. I don’t know who I am nor what I’m doing nor what I want, I don’t know if I’m old or young, maybe I’ve got hundreds of thousands of years to live, my past is disappearing into a grey abyss. . . .
The exhibition, curated by Veronique Wiesinger, is accompanied by a fully illustrated book and has been organized in collaboration with the Fondation Alberto et Annette Giacometti, Paris.
由1930年代至其於1966年離世，賈科梅蒂都在不斷探索準確重現眼前景物的方法 「無盡的巴黎」展覽 將會展出賈科梅蒂創作的150幅平版印刷作品及文本，頌揚他最愛的城市和人物。這批作品亦於1959年至1965年期間匯編成為日記式的作品集。展覽將會首度展出該書初期樣稿，以及收入作品集的珍貴平版印刷作品與素描。其他精彩展品包括多尊重要銅雕，例如《迪亞戈（穿高領的頭像）》 (Diego (tête au col roulé))(約1954年)及《安娜特坐像（小型）》(Annette assise (petite)) (1956年)，也有《卡洛琳娜》(Caroline) (1965年) 等繪畫 同場展出的原始手稿，以及著名攝影師亨利•卡蒂爾-佈雷松 (Henri Cartier-Bresson) 、埃利‧勞達爾 (Eli Lotar)、傑克‧尼斯伯格 (Jack Nisberg) 等人拍攝的精選肖像照片，亦讓人更了解賈科梅蒂潛心近六載的書籍項目。
特里亞德 (Tériade) 於擔任藝評人時已非常欣賞賈科梅蒂的才華，二人後來成為好友 30年後，成為出版商的特里亞德更鼓勵賈科梅蒂出版作品集。此前，他剛為費爾南•萊熱 (Fernand Léger) 出版了平版印刷作品集《城市》(La Ville)，同樣以巴黎為主題 萊熱的作品捕捉宛如迷宮的都市面貌，但賈科梅蒂的作品則是日常生活的速寫，場景包括工作室、咖啡店、巴黎林蔭大道，甚至莫爾洛 (Mourlot) 新開設的印刷店，毫不賣弄地展示了他的超卓技巧 據莫爾洛回憶，這些版畫運用不同深淺的灰色演繹巴黎的迷霧，展現了畫家無出其右的純熟技巧。
一如他以往的平版印刷作品，賈科梅蒂沒有按照傳統方法直接繪畫於石板上，而是畫在一張薄薄的轉印紙上，方便攜帶之餘，也能更準確複製素描。他形容這批作品為「圖像與圖像的記憶」，精準地描述這些多變而短暫的場景，例如塞滿汽車的十字路口加上交錯的電線與高架鐵路，還有以接近平面的角度繪畫歷史建築，四週滿佈代表變化的符號 賈科梅蒂以捕捉當下的創作方式，記錄了與世隔絕的工作室內大批模型及未完成的作品、行動中的親友的、聖敘爾比斯大教堂的鐘樓，以及他最愛的多姆 （Dome） 和塞萊特 （Sélect） 酒吧所在的蒙帕納斯大道 他於暮年時為畫作撰寫的註解充滿深意，反映了他以深淺灰色結合過去與現在、新與舊的概念：
Wyatt Allgeier pays homage to the renowned gallerist and artist Betty Parsons (1900–1982).
Peter Lindbergh on Alberto Giacometti
Peter Lindbergh discusses photography and the history of his practice with Catherine Grenier, Director of Fondation Giacometti. An accompanying video captures Lindbergh describing the powerful experience he had while photographing sculptures by Alberto Giacometti.
Substance and Shadow
Alberto Giacometti’s iconic sculptures have become the focus of Peter Lindbergh’s photographic gaze. An exhibition at Gagosian London brings together the sculptures and the photographs.
Alberto Giacometti and Yves Klein: Interview with Joachim Pissarro
Joachim Pissarro, the curator of Alberto Giacometti Yves Klein: In Search of the Absolute discusses with Gagosian’s Alison McDonald the works and themes that will be presented in this exhibition.
Extended through June 17, 2016
Alberto Giacometti | Yves Klein
In Search of the Absolute
April 27–June 17, 2016
Grosvenor Hill, London
Giacometti in Switzerland
November 18, 2010–March 5, 2011
April 30–June 19, 1993
980 Madison Avenue, New York
Substance and Shadow
Alberto Giacometti sculptures and their photographs by Peter Lindbergh
May 19–July 22, 2017
Britannia Street, London