Yann Gerstberger and Mexico City’s Magnetism – Yann Gerstberger和墨西哥城wppp603007qtes Magnety

French artist Yann Gerstberger will have his first solo show –“Ice News and Freeway Fetishes” – at OMR gallery in Mexico City next February during Zona Maco. We had a little chat with him to explore his original practice and his world.
法国艺术家扬恩·格斯伯格将于明年2月在墨西哥城的OMR画廊举办他的第一场个人秀,即“ice新闻和高速公路恋物癖”。我们和他聊了一会儿,以探索他的原始实践和他的世界。

My Art Guides: Your current practice is deeply connected to Mexican popular culture. How is this place influencing your art? Have you always been attracted to this culture?
我的艺术指南:你目前的做法与墨西哥流行文化有着深刻的联系。这个地方是如何影响你的艺术的?你一直被这种文化所吸引吗?

Yann Gerstberger: I see mostly connections between what is considered (Mexican) popular culture, arte popular, contemporary art, outsider art, graffiti.. I think what’s cool when you are an artist (a painter or a sculptor for example) is you can drive (and eventually run over) those categories because you’re generating another kind of language that goes beyond those definitions. Obviously they are identifiable signs in my work and by chance people recognize them so those signs are like little flytraps.. they stick to your eye and then you can go deeper. Recently I’ve been pretty much obsessed by the Yoruba culture. I have never been to Lagos. There is a graphical link between the beads layout in the Yoruba crafts and some of the Ernst Ludwig Kirchner etchings of the Alps.. I’m trying to transliterate this feeling in my works, adding some abstract mosquito shapes, that are sometimes died with cochineal.
雅恩·格斯伯格:我看到的大部分是被认为是(墨西哥)流行文化、艺术品流行、当代艺术、局外艺术、涂鸦之间的联系。我认为当你是一个艺术家(例如画家或雕塑家)时最酷的是你可以驱动(并最终超越)那些类别,因为你正在生成另一种超越这些定义的语言。很明显,在我的工作中,它们是可识别的标志,人们偶然会认出它们,所以这些标志就像是捕蝇器。它们粘在你的眼睛上,然后你就可以走得更深。最近我对约鲁巴文化非常着迷。我从未去过拉各斯。约鲁巴工艺中的珠子布局与阿尔卑斯山的一些Ernst Ludwig Kirchner蚀刻之间存在图形链接。我试图在我的作品中把这种感觉音译,添加一些抽象的蚊子形状,它们有时会死于胭脂虫。

MYAG: Could you tell us more about your practice? How did you get into your original textile technique?
麦格:你能告诉我们更多关于你的练习吗?你是如何进入你原来的纺织技术的?

YG: I started to use mops to do collages when I was in Marrakech a few years ago. I was inspired by the boucherouite carpets as well as the berber carpets.
Boucherouites are made with old t-shirts and clothes. I started to use mops because they are the most basic, common, easy-to-find kind of fabric. I realized people use different kind of mops around the world, like the ones in Marrakech are different from the ones in NYC, Marseille or Mexico. I started to work with the Mexican mops that are made of strings. It’s a mix of cotton and polyester. They are white/beige when they arrive at the studio, then we dye them. Technically speaking, it’s not weaving. I use cotton strings but I don’t weave them. I stack and glue them on recycled vinyl banner. I dye the strings myself with industrial dyed as well as cochineal. It’s not technically painting either because I don’t use a brush. I sometimes use a sprayer full of chlorine to draw directly on my materials, graffiti like.
几年前我在马拉喀什的时候就开始用拖把拼贴画了。我的灵感来自布谢鲁埃地毯和柏柏尔地毯。
布谢罗伊特是用旧T恤和衣服制成的。我开始使用拖把是因为它们是最基本、最普通、最容易找到的一种织物。我意识到世界各地人们使用不同类型的拖把,就像马拉喀什的拖把不同于纽约、马赛或墨西哥的拖把。我开始使用由绳子做成的墨西哥拖把。它是棉和聚酯的混合物。他们到达演播室时是白色/米色的,然后我们给他们染色。从技术上讲,这不是编织。我用棉线,但我不织。我把它们堆在回收的乙烯基横幅上并用胶水粘起来。我自己用工业染色和胭脂虫染色。技术上也不是画画,因为我不用刷子。有时我会用一个充满氯气的喷雾器直接在我的材料上涂鸦。

MYAG: What will you present in your first solo show at OMR?
麦格:你会在OMR的第一个独奏展上展示什么?

YG: The show is called “Ice News and Freeway Fetishes”. It’s based on a mushroom experience I had with 2 friends of mine after an excursion in the Tambopata national reserve in the Peruvian Amazonian rainforest. I will present a new series of tapestries as well as a family of sculptures and I’m doing a chalk mural that will cover the integrality of OMR basement space. It’s going to be full of bird messengers and abstract lepidopterists hunters. I’m also presenting my first monograph for the occasion, Baby Comet Face, with Zulu Press.
YG:这个节目叫做“ice news和freeway fetishes”。这是基于我和我的两个朋友在秘鲁亚马逊雨林的坦波帕塔国家保护区旅行后的一次蘑菇体验。我将展示一系列新的挂毯和一系列雕塑,我正在做粉笔壁画,它将覆盖OMR地下室空间的完整性。它将充满鸟类信使和抽象的鳞翅目猎人。我还将向祖鲁出版社展示我的第一部专著《彗星脸宝贝》。

MYAG: You were born in France but you live in Mexico. When and why did you decide to move to Mexico City?
麦格:你出生在法国,但你住在墨西哥。你什么时候为什么决定搬到墨西哥城?

YG: I don’t know why I’ve always had the feeling that the Zocalo is the center of something more vast than the city by itself. It’s weird because I’m not that much attracted by official areas or monuments, they are often ugly.. in Mexico and everywhere else. I guess the first time I saw pictures of the Zocalo and the historical center of Mexico City was in Francis Alÿs videos and actions, people protecting themselves from the sun in the flag’s shadow, dogs sleeping around, La Merced.. they must have left a mark on me. I studied and lived in Marseille for a while and as far as I can remember I had an ‘elsewhere’ fantasy.. my state of mind was: what am I going to talk about if I stay here? I felt like a urge to travel and explore new areas. I came several times to Mexico before I took the decision to set myself here. It came pretty much naturally. I stayed because of the beautiful people I met and the woman I came with, my partner at that time, I don’t know if I would have been able to make the move without her.
伊格:我不知道为什么我一直觉得佐卡卢是比城市本身更广阔的中心。这很奇怪,因为我不太喜欢官方区域或纪念碑,它们通常都很难看。在墨西哥和其他地方。我想我第一次看到Zocalo和墨西哥城历史中心的照片是在Francis al_的视频和行动中,人们在国旗的阴影下保护自己不受阳光的伤害,狗在周围睡觉,La Merced。他们一定在我身上留下了记号。我在马赛学习和生活了一段时间,据我所知,我有一个“其他地方”的幻想……我的心境是:如果我留在这里,我该怎么说?我觉得自己有一种旅行和探索新领域的冲动。在我决定把自己安置在这里之前,我去过几次墨西哥。这是很自然的。我留下来是因为我遇到了很多漂亮的人,还有和我一起来的那个女人,当时我的伴侣,我不知道如果没有她我是否能做出决定。

MYAG: What is your perspective on the city’s art scene?
麦格:你对城市的艺术景观有什么看法?

YG: I feel like the new generation of artists is very dynamic and active even if the gap between the established and the youth is huge. I think this is a fertile context
considering the fact that the city is always mutating, locally, internationally, politically, geographically, physically.. There is a lot to do.
YG:我觉得新一代的艺术家是非常有活力和活跃的,即使在已经建立的和年轻人之间的差距是巨大的。我认为这是一个丰富的背景
,考虑到这座城市总是在本地、国际、政治、地理、物理上发生变化。有很多事情要做。

MYAG: My Art Guides likes to recommend to its readers unique places to visit in each destination, not necessarily connected to contemporary art, in your opinion, what are the absolutely unmissable places, landmarks and spots in Mexico City? And could you recommend something that shouldn’t be missed during the art week?
Myag:我的艺术指南喜欢向读者推荐在每个目的地都可以参观的独特的地方,而不一定与当代艺术相联系,在你看来,墨西哥城绝对不可错过的地方、地标和景点是什么?你能推荐一些在艺术周不应该错过的东西吗?

YG: Most of my favorites places are located in the historical center: Sanadoras la Calderia, Fray Servando 333: the best soups in town; Bosforo Mezcaleria; Café Regina; The Museo de Arte Popular library (only by appointment); Baños Señorial (massage, sauna, day spa); Ex Covento Desierto de los Leones for a little breakaway
YG:我最喜欢的地方位于历史中心:Sanadoras la Calderia,Fray Servando 333:镇上最好的汤;Bosforo Mezcaleria;Caf_Regina;Museo de Arte Popular Library(仅预约);Ba_os Se_arial(按摩、桑拿、Day Spa);前Covento Desierto de Los Leones,稍作休息。

Yann Gerstberger and Mexico City’s Magnetism - Yann Gerstberger和墨西哥城wppp603007qtes Magnety
Yann Gerstberger
扬·格斯伯格

Yann Gerstberger and Mexico City’s Magnetism - Yann Gerstberger和墨西哥城wppp603007qtes Magnety
Yann Gerstberger, Studio, Courtesy of Galería OMR
Yann Gerstberger,工作室,由Galeri a OMR提供

Yann Gerstberger and Mexico City’s Magnetism - Yann Gerstberger和墨西哥城wppp603007qtes Magnety
Yann Gerstberger, Atarraya, Photo Courtesy Sorry We'reClosed © Sebastien Janssen
Yann Gerstberger,Atarraya,照片:对不起,我们关门了©Sebastien Janssen

Yann Gerstberger and Mexico City’s Magnetism - Yann Gerstberger和墨西哥城wppp603007qtes Magnety

Yann Gerstberger and Mexico City’s Magnetism - Yann Gerstberger和墨西哥城wppp603007qtes Magnety
Yann Gerstberger, Queen Niya Yoruba Corona
Yann Gerstberger,Niya Yoruba Corona皇后

编译:ARThing
原文:Art Guides


Comments are closed.