0530-0817 國立故宮博物院 - 印象畢沙羅 Camille Pissarro

印象畢沙羅：英國牛津大學美術館珍藏展
國立故宮博物院
0530-0817/2008

Camille Pissarro: Family and Friends--Masterworks from the Ashmolean Museum
National Palace Museum
0530-0817/2008

保羅‧塞尚稱卡密爾‧畢沙羅為「第一位印象主義的藝術家」。在1874年至1886年間舉辦的八次印象派畫展中，畢沙羅是唯一堅持印象派的理念與實踐、從未缺席的畫家。誠如塞尚所說，「謙遜而傑出」的畢沙羅是印象派的創始者也是印象派最忠實的代表者。畢沙羅的創作生涯貫穿巴比松畫派到印象畫派，代表了十九世紀現代繪畫的主流。他不僅可與莫內、竇加相提並論，也是備受年輕後進尊崇的良師益友，塞尚、高更、梵谷乃至年輕時的馬諦斯都受過他的引導與影響。

「印象-畢沙羅」的展品來自於英國牛津大學阿胥莫林美術館的收藏。該美術館擁有全球最完整的畢沙羅素描與水彩畫。本展以畢沙羅的油畫、素描、版畫及信件為主軸，並包括他的三位畫家兒子路西安、菲力克斯、路德維奇－魯道夫與孫女奧蘿維妲的作品。同時，為了將畢沙羅的成就與影響力置於十九世紀法國藝術的脈絡之中，本展覽亦展出具有代表性的巴比松畫派藝術家，及畢沙羅的印象派同儕之作品。在超過四十年的創作生涯中，畢沙羅以開放的心胸廣為吸收其他藝術家的觀念與技法並加以創新，因此他經歷了多次創作風格的轉變。本展覽以「風景‧畢沙羅」、「農情‧畢沙羅」、「家族‧畢沙羅」等三個主題之關聯，完整呈現印象派發展的脈絡及畢沙羅多樣風格的演進。

The renowned Post-Impressionist artist Paul Cezanne once praised Camille Pissarro (1830-1903) as 'the first Impressionist painter.' A central figure in the formation of this art movement, Pissarro was the only artist to show in all eight of the formative Impressionist exhibitions held between 1874 and 1886, striving consistently to uphold its ideals and practices. As Cezanne admitted, that 'humble and colossal' Pissarro was a founder of Impressionism and one of its most faithful representatives in many ways. Pissarro's career in art spanned the Barbizon school to Impressionism, representing many of the main trends in modern painting of the nineteenth century. Not only is he mentioned together with such Impressionist masters as Monet and Degas, he was also revered by many other young mentors and friends who would later go on to fame. Such artists as Cezanne, Gauguin, Van Gogh, and even the young Matisse all came under his guidance or influence at one time or another.

The works on exhibit in Camille Pissarro, Family and Friends come from the collection of the Ashmolean Museum of Art and Archaeology at the University of Oxford in England. The Ashmolean Museum is home to the most complete set of drawings and watercolours by Pissarro in the world. This exhibit focuses on Pissarro's oil paintings, drawings, prints, and letters, but it also includes works by three of his painter-sons--Lucien, Felix, and Ludovic-Rodolphe--and by his granddaughter Orovida. To put Camille Pissarro's achievements and influence in the wider perspective of nineteenth-century French art, representative works by Barbizon painters and Pissarro's fellow Impressionists have also been selected for exhibit. Always with an open mind, Pissarro in more than forty years as an artist also absorbed ideas and techniques of other artists, adding his own innovations that led to several shifts in style over his career. This special exhibition is divided into three main themes--"Pissarro and Landscape," "Pissarro and Rural Life," and "The Pissarro Family," presenting an overview of major developments in the life and art of the Impressionist patriarch Camille Pissarro.

0614-0824 台北市立美術館 - 建築實驗室 ARCHILAB

建築實驗室－法國中央地區當代藝術基金會建築收藏展
台北市立美術館1A-1B
0614-0824/2008

ARCHILAB. Collection du FRAC Centre
Taipei Fine Arts Museum 1A-1B
0614-0824/2008

本展囊括了法國中央地區當代藝術基金會最具代表性的素描與模型，展出250餘件作品，向世人介紹一九五○年代至今，建築與城市在實驗發展上的脈絡概要。

作品共分13個主題：「網絡城市 Network City」、「移動城市 Mobile City」」、「汽泡城市 Bubble City」、「傾斜城市 The Oblique City」、「巨型建築 Megastructures」、「幾何城市Geometric City」、「未來式城市 Futuristic City」、「建築機器 Machine Architecture」、「解構 Deconstruction」、「互動建築 Interactive Architecture」、「非標準建築 Non-Standard Architecture」、「1990-2008」、「藝術家 Artists」


六○年代，歐洲興起了「激進建築」的運動，旨在透過理念與藝術創作，超越建築原有的尺度與規範。這些建築激進派包括「建築電訊」、「超級工作室」、「豪斯陸克團體」與「建築伸縮派」，他們所進行的案件，小到私人住宅，大至都市計畫；建築在此已不僅是單純的建物，而是一個持續變動重組的環境，呼應時代的脈動。

藉由紀德博的「心理地理學指南」(1957)與「建築電訊」的「即時城市」(1969)，本展以「移動」的觀點揭開序幕，呈現一個無常、遊牧的烏托邦城市，隨著不斷的往來與迭起的事件，向前推進。

自五○與六○年代起，歐洲建築界開始探索「移動」的各種可能；在「移動城市」的主題中，根據艙房的模組、增生、集結性，啟發新的空間定義。首先響應的是艾歐尼爾．尚恩的塑膠屋，接著是巴斯卡．豪澤曼、尚內亞克與安提．羅維格，他們用單獨的艙房元件彼此組合，形成一個持續改組的都市聚落。

而像「氣泡城市」這類無地基的有機模組建築，則以「氣泡」作為主要特徵。其中，大衛‧喬治‧艾默力希從形態學切入，在可充氣式的建築發展演進裡，研究結構的張力；同一時期，「氣體」建築在歐洲如同雨後春筍般冒出，例如奧地利的「藍天組」、法國的烏托邦團、英國的亞瑟．。然而，所謂的「移動」，同樣也適用在居住者的身上，因此「建築原理」（克勞德．巴宏與保羅．維希，1963-1968）主張一種動態的建築，在「傾斜的都市」裡，藉由斜面與坡道打造一個可以提高「居民流量」的系統。

早在1958年，為了因應現代都會主義所興生的危機，尤納．弗萊德曼設計了一座「空中城市」，高高棲踞在支架上，居處以三度空間的立體結構，拓生為數層。此外，六○與七○年代亦是「巨構建築」蓬勃發展之際，這類建築可以無限擴展，依循模組原則，運用開放的架構自由安排(例如：胡特與多明尼克雙人組)。這些作品運用系統形式 － 例如都市格狀結構 － 來找尋一種人人平等的空間組織；此種理想適為當時的社會風氣，在尚．雷諾帝或芮妮．蓋爾胡斯特兩人結構繁複的「幾何城市」裡，我們可以窺見一二。

八○與九○年代，由於「解構」概念的出現，提升了建築的功能，在法國哲學家德希達的影響下，一些美國與歐洲的建築師，像是庫哈思、彼得．艾森曼、莎哈．哈蒂、屈米和丹尼爾．李伯斯金，均強調設計的理論與概念層面。經此解放之後，建築師們紛紛再次運用「事件」的觀念，以及形式與時間上的「斷裂」，進行一種語言的探索。

解構之後，我們將眼光放在數位工具帶來的各種可能。新一代的建築崛起於九○年代末期，造就出「智慧型」建築，既互動(以NOX、荷蘭的ONL為代表)，又能自元素的動勢與張力中，生成形式(以Asymptot, KOL/MAC LLC為代表)。
多虧今日的電腦繪圖技術與迅捷的模型製作機器，才能產生新的設計與製作程序。源自工程、生物、基因領域的複雜拓樸空間，正在改寫建築，將其轉化為一種動態的形式，讓建築不僅存於物質現實與可能潛力之間，鼓勵使用對象的彼此互動，更能考量到所有不同的環境、生態與微氣候因素。


This exhibition, which brings together some 250 drawings and models from among the FRAC Centre’s most emblematic projects, offers a broad overview of architectural and urban experimentation, from the 1950s to now.
In 1960s Europe, a movement called “radical architecture” emerged. It aimed to go beyond architecture as a discipline by opening it up to conceptual and artistic practices. In the hands of radical groups, from Archigram to Superstudio, and Haus-Rucker-Co to Archizoom, who designed for every scale, from the house to the urban plan, architecture no longer comes across as a built object but as a perpetually reconfiguring environment, at one with the time of action.
Taking Guy Debord’s guide psychogéographique (1957) and Archigram’s project for an Instant City (1969), the exhibition opens with the idea of “mobility”, presenting an ephemeral and nomadic utopian city, animated by the flow of communication and constantly generating events.
In 1950s and ’60s Europe, exploration of mobility in architecture led to the definition of a new kind of space, organised round the modularity, proliferation and agglomeration of pods (MOBILE CITY). First there was Ionel Schein, with his plastic house. Then came Pascal Haüsermann, Chanéac and Antti Lovag, who developed assembly systems of autonomous pods connected to each other to form constantly reconfiguring urban agglomerations.
The “bubble” came to be an emblem of this organic and modular architecture without foundation (BUBBLE CITY). David Georges Emmerich’s research into the morphology of self-tensile structures contributed to the development of inflatable buildings, and this same ’60s Europe saw the spread of “air” architecture (Coop Himmelblau in Austria, the Utopie group in France, Arthur Quarmby in the UK). But mobility refers to that of inhabitants too; thus the Architecture-Principe group (Claude Parent and Paul Virilio, 1963-1968) insisted on the need for an architecture of movement in which “habitable circulation” would be encouraged by sloping planes and systems of ramps (OBLIQUE CITY).
As early as 1958, Yona Friedman designed a project for a global city in response to the emerging crisis of modern urbanism. “Spatial cities,” perched on stilts and containing inhabited volumes were to proliferate over several levels based on a three-dimensional structure. The ’60s and ’70s also saw an increasing number of projects for “megastructure” cities, defined by their capacity for infinite expansion, the principle of modularity and free planning by means of an open framework (Huth & Domenig). In all these projects, the reliance on systematic form, e.g. the urban grid or framework, was employed in the service of a spatial organisation in search of an egalitarian ideal - a social aspiration characteristic of the period - which also shows up in the complex geometric spatial compositions of Jean Renaudie or Renée Gailhoustet (GEOMETRIC CITY).
In the 1980s and 1990s, international architecture was able to contribute to strengthening the critical capacity of the architecture referred to as “deconstruction”. Under the influence of French philosopher Jacques Derrida, certain American and European architects, among whom Rem Koolhaas, Peter Eisenman, Zaha Hadid, Bernard Tschumi and Daniel Libeskind, emphasised the theoretical activity and the conceptual dimension of the project. Freed in this way from the programme, architecture comes across as the exploration of a language. Architecture once again lays claim to the notion of the event, of formal and temporal “disjunction”.
Moving beyond deconstruction and betting on the potential for exploration offered by digital tools, a new generation emerged in the late 1990s, producing “intelligent” architecture, both interactive (Nox, ONL/Oosterhuis.nl), in perpetual mutation (Dagmar Richter) and generating forms that draw on the dynamism and tension of the elements (Asymptote, KOL/MAC LLC). The ArchiLab show, first launched by Frédéric Migayrou in 1999 in Orleans, has greatly contributed to raising awareness in France of this new generation of architects focused on research at the international level.

Entirely new design and production processes are made possible by today’s computer-driven manufacturing techniques and rapid prototyping machines. Complex topological spaces, emerging from engineering, biology and genetics, are transforming architecture, which is now viewed as a dynamic form, existing between materiality and potentiality, open to the interaction of its users and to environmental, ecological or micro-climatic conditions.