To cut, to bend and to straighten up. To hide and to reveal. On the floor. Hold the pose. Don’t breathe until you have to. Spin around. The other way. Fix it. A little bit more to the right, Now to the left to the left
– Justin Morin, 2020
艺术家Justin Morin于1979年出生在法国蒙圣马丹，目前在巴黎工作生活，其作品曾在巴黎的Derouillon画廊，Frac Ille-de-France画廊，旧金山的Capital画廊，巴黎和布鲁塞尔的Jean Rochdard画廊，以及耶尔的Villa Noailles画廊展出。此外，艺术家和Études、Louis Vuitton、Rimowa等品牌都曾进行大型项目的合作。Justin Morin还担任着Revue杂志的主编与巴黎帕森斯学院的教授。
Justin Morin (b. 1979, Mont Saint Martin, France) lives and works in Paris. He has exhibited at Galerie Derouillon (Paris), Frac Ille-de-France, Capital Gallery (San Francisco), Galerie Jean Rochdard (Paris and Brussels), Villa Noailles (Hyères) and has created large scale projects for Études, Louis Vuitton and Rimowa etc. He is the Editor in chief of the acclaimed Revue Magazine as well as a Professor at Parson’s in Paris.
▼Justin Morin在Last Resort画廊展出的作品 Justin Morin’s collection in Last Resort © Last Resort Gallery, Copenhagen & Justin Morin
以下内容为Peter Amby为Justin Morin在Last Resort画廊的第四次个展所做的介绍：非常荣幸能够在画廊举办Justin Morin的第四次个展“平衡”。与Justin Morin一起策展的经历总是十分特别，这不仅源于对他作品的喜爱与欣赏。通常，我会在策划时先看到作品，并在展览前的几个月中参与进创作过程。但与Justin的合作流程却完全不同，在展览前，仅有碎片化的照片透露了些许线索，直到安装完成后，我和特别委员会才领略到作品的全貌。
The following English text is from Peter Amby’s introduction for Justin Morin’s latest exhibition in Last Resort. We are honoured to present ‘Equilibrium’, Justin Morin’s fourth solo exhibition at the gallery. It is always something very special for me to open an exhibition with Justin Morin, not just because I love and admire his work. Usually, when you prepare a show, you see the work prior to the exhibition and follow the process of their creation in the months up to the exhibition. But with Justin, it is a very different process. I see renderings of pieces, and he reveals different clues on the way, but I don’t see the pieces until they are actually installed. This is also the case for special commissions.
▼展览现场，the scene of exhibition © Last Resort Gallery, Copenhagen & Justin Morin
不论是有机玻璃还是织物，每当Justin带着他的作品抵达画廊，我便会获得更多线索。我们仿佛是从撒马尔罕跋涉至君士坦丁堡的商人，展开丝绸，拉开帷幕。当这些织物作品按照Justin的设想包裹于钢棒上时，最终的效果也浮出水面。
Whether it is his plexiglass works or his draperies, I get more clues once Justin arrives at the gallery. With the draperies, we unroll the silk, as I imagine tradesmen have done from Samarkand to Constantinople, and first when they are installed on the steel rods, and draped as Justin imagines, I see the final piece.
▼钢棒与织物的组合，the draperies installed on the steel rods © Last Resort Gallery, Copenhagen & Justin Morin
▼细部，渐变色，detail, the gradient © Last Resort Gallery, Copenhagen & Justin Morin
Justin Morin将重要的实景图像制成了丝绸的抽象渐变，并通过作品名称带给观者观看的线索与更深层次的体验。展览的线索零零散散，除了别致的标题，本次的新作中还使用了30米长的钢棒。此外，场地中间将有一件旋转的作品，名为《如何使光线的褶皱击中钻石》，展览的邀请函上也展示了本作的渐变图案。
The next layer of the experience is the titles: The colours of the silk is based on actual images that are important to the artist, which he has made into abstract gradients. Once I know the title I get clues about what I am actually looking at. For this show, I only have very sparse clues. Besides the title, I know that we will use 30 meters of steel rods for new draperies and that there will be a central piece which will rotate, titled ‘How to drape a ray of light hitting a diamond’, which is also the gradient which is used for the illustration on the invitation.
▼织物的扭曲，the twisted draperies © Last Resort Gallery, Copenhagen & Justin Morin
▼织物的折叠，the folding draperies © Last Resort Gallery, Copenhagen & Justin Morin
在展览中，我试图跟随线索，想象以最柔软、最易碎的织物来模拟世界上最坚固材料的体验，并以“平衡”一词描述了这种对比。“平衡”代表了两个极端，两种能量，不同要素或力量在效果与行动上的对等关系，同时也诠释了精神与情感层面的平等。 I try to imagine how the experience of one of the hardest and toughest materials in the world can be recreated in one of the softest and most fragile materials we have. The word ‘Equilibrium’ is the definition of this contrast: Equilibrium is the balance between two opposites, powers, elements or forces which create an equality in effect or action. But it can also be interpreted as mental or emotional balance. – Peter Amby
▼花瓶作品，the vase on the wall © Last Resort Gallery, Copenhagen & Justin Morin
