在米兰的Pirelli HangarBicocca，由威尔士概念艺术家Cerith Wyn Evans提供的沉浸式感官体验在等待着游客，他的有史以来最大的个展“……照明气体“用悬挂的霓虹灯雕塑和膨胀的音景填充了以前的工业设施。在5000平方米的展区中，展出了24件不朽的装置作品、早期的雕塑作品和新作品，它们综合了光和声音的复杂组合，展示了温·埃文斯对这些短暂媒介的探索、高度精炼的美学以及对感知的主观本质的持久关注。策展人Roberta Tenconi和Vicente Todoli利用艺术家在不同作品中重复视觉和文本来源的实践，以及他对光的偏爱，将光作为他的素材，为展览注入了形式的凝聚力、戏剧的连续性和歌剧戏剧。
Cerith Wyn Evans, Neon Forms (after Noh III), 2015 © Cerith Wyn Evans. Courtesy White Cube. Photo: George Darrell.
Cerith Wyn Evans, The Illuminating Gas… (after Oculist Witnesses), 2015 © Cerith Wyn Evans. Courtesy White Cube. Photo: George Darrell.
Cerith Wyn Evans, Radiant fold (…the Illuminating Gas), 2017-18. Installation view, Amgueddfa Cymru – National Museum Wales, Cardiff, 2018. © Cerith Wyn Evans. Courtesy Amgueddfa Cymru – National Museum Wales. Photo: Robert Maggs.
Cerith Wyn Evans, StarStarStar/Steer (totransversephoton), 2019. Installation view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist; White Cube and Pirelli HangarBicocca. Produced with the technical support of INELCOM, Madrid. Photo: Agostino Osio
Cerith Wyn Evans, StarStarStar/Steer (totransversephoton), 2019. Installation view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist; White Cube and Pirelli HangarBicocca. Produced with the technical support of INELCOM, Madrid. Photo: Agostino Osio
Cerith Wyn Evans, Column (Assemblages) I, 2010 © Cerith Wyn Evans. Courtesy White Cube. Photo: Todd-White Art Photography.
Cerith Wyn Evans, Column (Assemblages) VIII, 2010 (detail) © Cerith Wyn Evans. Courtesy White Cube. Photo: Todd-White Art Photography.
温·埃文斯(Wyn Evans)以电影制作人的身份开始了他的艺术生涯，他的实验电影赢得了赞誉，之后在20世纪90年代，他转向雕塑、装置、摄影和表演干预，专注于语言和感知。在电影感悟力的支撑下，他的作品从文学、音乐、天文学等各种各样的参考文献和引语中汲取灵感，并将其转化为光与声的空灵语言。
他的概念驱动的方法，尤其是语言和视觉之间的相互关系，暗示了开创性的艺术家Marchel Duchamp，他的作品Wyn Evans经常在形式上和概念上引用。事实上，展览的标题是“……”“照明气体”的名字取自杜尚的最后一部作品，Etant donnes: 1。La chute d eau, 2。Le gaz d’eclairage，(给定:1。瀑布、2。他为之工作了20年，直到他的职业生涯结束。并非巧合的是，在Pirelli HangarBicocca展览的艺术品也跨越了20年的时间，这意味着展览中的一切，从最小的霓虹灯雕塑的扭曲，到声音装置的节奏，都是有目的的。
Cerith Wyn Evans, Composition for 37 Flutes (in two parts), 2018. Installation view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist; Amgueddfa Cymru – National Museum Wales and Pirelli HangarBicocca. Photo: Agostino Osio.
Cerith Wyn Evans, Radiant Fold (…the Illuminating Gas), 2017-2018. Installation view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist; Amgueddfa Cymru – National Museum Wales and Pirelli HangarBicocca. Photo: Agostino Osio.
Cerith Wyn Evans, “….the Illuminating Gas”, exhibition view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist and Pirelli HangarBicocca, Milan. Photo: Agostino Osio.
如果说这个展览是一部以光为剧本的歌剧，那么开幕装置StarStarStar/Steer (totransverse光子)(2019)就是前奏。由七根20米高的灯柱组成，由管状灯组成，在昏暗的大厅里有节奏地开关，跳动的、不朽的作品创造了光影的舞蹈。这是一座由透明管道组成的飘渺的玻璃雕塑，旁边的37支笛子(2018年)发出了嘶嘶的声音，令人毛骨悚然。这个迷人的装置向游客介绍了温·埃文斯(Wyn Evans)的艺术世界。
I和II行为发生在倍耐力HangarBicocca最大的空间,一个30米高的高,教堂的大厅一个精心设计的视觉评分展开组成的两个高度复杂的安装,13个霓虹灯系列雕塑,霓虹灯形式(能剧之后)(2015 – 2019)和2-kilometre-long纠结的霓虹灯在空间直线和曲线的形式…《光》(in Time)(2017)。最初是为伦敦泰特英国美术馆的Duveen画廊构思的，并在米兰以一种新的形态呈现，在空间中形成……光(及时)最初出现在一个发光的混乱,但是当你走动下,霓虹灯,曲线和螺旋开始形成不同形状,引发大量引用和内涵,从特定元素在杜尚的新娘脱得精光,她的单身汉,甚至(也称为大玻璃),日本能剧的运动和手势。日本传统能氏的法典化运动也构成了霓虹形态(能氏之后)系列的基础，它诗意地映射——在三维空间中——一个特定的角色是如何上演的。从这个意义上说，13个霓虹灯集群照亮了大厅，形成了一个与更大的霓虹灯装置对话的无形表演者剧团。
Cerith Wyn Evans, “….the Illuminating Gas”, exhibition view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist and Pirelli HangarBicocca, Milan. Photo: Agostino Osio.
Cerith Wyn Evans, “….the Illuminating Gas”, exhibition view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist and Pirelli HangarBicocca, Milan. Photo: Agostino Osio.
Cerith Wyn Evans, Neon Forms (After Noh), 2015-2019. Installation view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist; White Cube; Marian Goodman Gallery, New York, Paris and London, and Pirelli HangarBicocca. Photo: Agostino Osio.
Cerith Wyn Evans, Neon Forms (After Noh), 2015-2019. Installation view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist; White Cube; Marian Goodman Gallery, New York, Paris and London, and Pirelli HangarBicocca. Photo: Agostino Osio.
Cerith Wyn Evans, Neon Forms (After Noh XIII), 2018 (detail). Courtesy of the artist; Marian Goodman Gallery, New York, Paris and London, and Pirelli HangarBicocca. Photo: Agostino Osio.
Cerith Wyn Evans, Neon Forms (After Noh I), 2015 (detail). Courtesy of the artist; White Cube and Pirelli HangarBicocca. Photo: Agostino Osio.
Cerith Wyn Evans, Forms in Space…by Light (in Time), 2017. Tate Britain Commission by Cerith Wyn Evans, Duveen Galleries. © Cerith Wyn Evans, courtesy White Cube. Photo: Joe Humphreys © Tate, London 2018.
Cerith Wyn Evans, S=U=T=R=A, 2017. Installation view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist; Marian Goodman Gallery, New York, Paris and London, and Pirelli HangarBicocca. Photo: Agostino Osio.
Cerith Wyn Evans, “….the Illuminating Gas”, exhibition view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist and Pirelli HangarBicocca, Milan. Photo: Agostino Osio.
Cerith Wyn Evans, “….the Illuminating Gas”, exhibition view at Pirelli HangarBicocca, Milan, 2019. Courtesy of the artist and Pirelli HangarBicocca, Milan. Photo: Agostino Osio.
Cerith Wyn Evans, Still life (In course of arrangement…) V, 2017. Turntable with Phoenix roebelenii. Installation view, Museum Haus Konstruktiv, Zurich, 2017 © Cerith Wyn Evans. Courtesy Museum Haus Konstruktiv. Photo: Stefan Altenburger © Museum Haus Konstruktiv.
Cerith Wyn Evans, Mantra, 2016 © Cerith Wyn Evans. Courtesy White Cube. Photo: George Darrell.
Cerith Wyn Evans, Mantra, 2016 (detail) © Cerith Wyn Evans. Courtesy White Cube. Photo: George Darrell.
Cerith Wyn Evans, Untitled – Takashimaya Rose (White), 2007. © Cerith Wyn Evans. Courtesy White Cube. Photo: Todd-White Art Photography.
Cerith Wyn Evansportrait. Courtesy Pirelli HangarBicocca, Milan, 2019. Photo: Lorezno Palmieri.
Cerith Wyn Evans, TIX3, 1996 © Cerith Wyn Evans. Courtesy White Cube Photo: Stephen White