Visual Essay: Tools – 视觉散文:工具

Picture Piece - 22 Feb 2018

Visual Essay: Tools

The artist Simon Starling photographs Giorgio Griffa’s studio in Turin

By Simon Starling and Giorgio Griffa

This visual essay is the continuation of a collaboration with the Turin-based painter Giorgio Griffa, which began last year following the discovery of a very particular brush at an urushi [lacquer] workshop in Wajima, Japan. Only 5 cm wide with a flat wooden handle, the brush is employed to apply the critical final coat of lacquer to tableware and furniture in this painstaking, and seemingly anachronistic, process, which dates back to the prehistoric Jomon period (14,000–1,000 BCE). Crucially, its bristles are made from the hair of Japanese women pearl divers or ama. I purchased one of these highly evocative objects with the intention of using it in an artwork yet, for some time, I was daunted by the idea of making marks with it. In May last year, however, I found myself sitting with Giorgio at a dinner to celebrate his participation in the Venice Biennale and realized there and then that I should ask him to collaborate on the work. There seemed to be something in the nature of the brush that aligned with his measured yet exuberant (and often calligraphic) mark-making. His generous response consisted of three cypher-like, ink-on-paper works organized within a grid of folds that led, in turn, to a series of similarly gridded annotations on my part – annotations which reconnected that very particular tool to its origins.

When I arrived with my 8 x 10-inch plate camera to photograph Giorgio’s studio in late December last year, I found a small trestle table in the middle of the main space with a pile of neatly folded canvases sitting on top. (The artist has used exclusively unstretched, unprimed pieces of canvas, burlap and linen as supports for his paintings since the mid-1970s.) This modest stack – no higher than 30 cm – would comprise, I was told, the entirety of his forthcoming solo exhibition at Camden Arts Centre, London. In folded form, the paintings asserted a quiet materiality; the textiles – in a range of white, cream and brown hues – often frayed at the edges. Even when hung, simply with pins along the top edge, the works retain a sense of being objects that exist resolutely in time and space. Seeing this little stack of paintings and, later, the studio’s remarkable archive – which houses much of the artist’s output from the last 40 years or more – in geological strata-like piles, I realized that I’d brought the right tool to photograph the space. The slowness (exposures can last many minutes), insistent materiality and process-oriented nature of large-format, silver-based photography rhymed with Giorgio’s practice in ways that I hadn’t fully anticipated: even the camera’s gridded, ground-glass focus screen seemed to echo his paintings’ structuring folds. The resulting images are, I hope, a celebration of the lean economy and subtle materiality of these extraordinary artworks. 


Visual Essay: Tools - 视觉散文:工具


Visual Essay: Tools - 视觉散文:工具


Visual Essay: Tools - 视觉散文:工具


Visual Essay: Tools - 视觉散文:工具


Visual Essay: Tools - 视觉散文:工具


Visual Essay: Tools - 视觉散文:工具

Main image: Giorgio Griffa, Turin, 2018. Photograph: Karl Isakson. All other images courtesy: © Simon Starling

Giorgio Griffa, ‘A Continous Becoming’ runs at Camden Arts Centre, London, until 8 April.

Simon Starling

Simon Starling lives in Copenhagen, Denmark. In 2017, he had solo exhibitions at neugerriemschneider, Berlin, Germany, and Casey Kaplan, New York, USA. His Project for a Rift Valley Crossing (2015–16) is included in ‘Darbyshire, Gander, Pica, Starling’ at Heni Project Space, Hayward Gallery, London, UK, until 9 April.

Giorgio Griffa

Giorgio Griffa lives in Turin, Italy. In 2017, he had a solo exhibition at Galleria Lorcan O’Neill, Rome, Italy. His first UK exhibition, ‘Giorgio Griffa: A Continuous Becoming’, is on view at Camden Arts Centre, London, until 8 April.

Picture Piece
Simon Starling
Giorgio Griffa
Visual Essay
Casey Kaplan Gallery
Galleria Lorcan O'Neill
Camden Arts Centre

Issue 193

First published in Issue 193

March 2018

图片- 22 FEB 2018视觉散文:工具艺术家西蒙·斯塔林拍摄Giorgio Griffa工作室在都灵由西蒙·斯塔林和吉奥吉奥格里夫这个视觉散文是一个延续与都灵的画家吉奥吉奥Giffa合作,去年开始在日本轮岛发现一个非常特殊的刷在乌鲁木齐[漆器]车间。只有5厘米宽,有一个扁平的木制手柄,刷子被用来将油漆的最终涂层涂抹到餐具和家具上,这是一种痛苦的,似乎是过时的工艺,可以追溯到史前的乔门时期(14000—1000 BCE)。最重要的是,它的鬃毛是由日本妇女珍珠潜水员或AMA的头发制成的。我买了其中的一个高度唤起的对象,目的是使用它在一个艺术品,但有一段时间,我感到害怕的想法做标记与它。然而,去年5月,我发现自己和吉奥吉奥坐在一起庆祝他参加威尼斯双年展,并意识到我应该请他在这项工作上合作。在画笔的本质上似乎有一些东西与他测量的,但仍然旺盛的(通常是书法)标记相一致。他慷慨的回应包括三个类似于Cyfer-Script的墨水,在一个折叠的网格中组织起来,这导致了一系列类似的网格注释在我的部分-注释中重新连接了一个非常特殊的工具到它的起源。WPAP60300 3BRWPAP60300 3BR当我用我的8×10英寸的平板照相机到达去年十二月下旬拍摄吉奥吉奥的工作室时,我发现在主空间中间有一个小的栈桥桌子,一堆整齐折叠的画布坐在上面。(艺术家自70年代中期以来,专门使用未拉伸、未涂布的帆布、麻布和亚麻布作为他的画作的支撑物),这一适度的堆叠(不超过30厘米)将被包括在伦敦卡姆登艺术中心即将举行的个人展上。在折叠的形式,绘画声称一个安静的重要性;纺织品-在一系列白色,奶油和棕色色调-往往磨损边缘。即使在悬挂时,只要沿着顶部边缘有销钉,作品就保留了在时间和空间上坚决存在的物体的感觉。看到这小小的一堆画,后来,工作室的卓越档案——它容纳了过去40年或更长时间里艺术家的大量产出——在像桩这样的地质地层中,我意识到我带来了正确的工具来拍摄太空。慢速(曝光时间可以持续几分钟),坚持不懈的实质性和面向过程的大幅面,银色的摄影以吉奥吉奥的实践方式押韵,我还没有完全预料到:甚至相机的网格化,地面玻璃聚焦屏幕似乎回响着他的画。构造褶皱。结果,我希望,这是一个庆祝精益经济和微妙的物质性这些非凡的作品。3CCMYK.JPG WPA60260602IMG 4-CMYK.JPG WPA6024602IMG 7CMYK.JPG WPA6025602IMG 6CMYK.JPG WPA6026602IMG主要图片:Giorgio Griffa,都灵,2018。照片:Karl Isakson。所有其他的图片都有礼貌:西蒙S椋鸟吉奥吉奥Griffa,“连续不断”在伦敦的卡姆登艺术中心运行,直到4月8日。西蒙S椋鸟西蒙椋鸟生活在丹麦哥本哈根。在2017,他曾在NoigrimeMsEn采德,柏林,德国,和Casey Kaplan,纽约,美国的个人展览。他的裂谷穿越项目(2015 - 16)包括在“达比郡,甘德,皮卡,Starling”在亨利项目空间,海沃德画廊,伦敦,英国,直到4月9日。吉奥吉奥Grffa吉奥吉奥Griffa住在意大利都灵。2017,他在意大利罗马的加里埃里奥尼尔举办了一个个人展览。他的第一个英国展,“吉奥吉奥格里菲尔:一个不断成为”,是在伦敦卡姆登艺术中心,直到4月8日。图片集西蒙S椋鸟吉奥吉奥格里菲视觉散文摄影NueGeReMeSnNeIDE凯西卡普兰画廊GaleliaLoCAN O&Y 039;尼尔卡姆登艺术中心发行193年第一期发表在第193期2018年3月


Comments are closed.