达沃·霍根(Darragh Hogan) 对话 雅昌艺术网 

　　雅昌艺术网：为什么这次展览主题为“PARK”(趴刻)?有什么含义?

　　达沃·霍根：在这种情形下，主题命名为“趴刻”有其名词和动词的两面。首先“趴刻”(公园)是城市里不可或缺观赏景色和休憩的公共空间。我觉得画廊的功能应与公园类同，应该成为我们休憩和思考的地方。而华艺廊恰好座落在中国的第三大城市——广州一个静谧公园的湖泊之上。

　　对于主题的第二个解读，“趴刻”就是停车的涵义。停车、休憩、整装出发。爱尔兰的诺贝尔奖桂冠诗人谢默斯·希尼(Seamus Heaney)在他1996年题为“后记”的诗作里描述了停车“赢得时间”去面对自然的体验。

　　“竟没想到你会停下来捕捉它

　　如此彻底。你既不在这里也不在那里，

　　繁忙的通道上经历着稀奇的事物

　　一条小路上的大动作

　　让心无所戒备并肆意敞开”

　　如果我们分别出时间面对艺术时，也可能会具备那种“无所戒备并肆意敞开”的感受。

　　雅昌艺术网：这次展览一共有8位艺术家参展，在艺术家挑选上，是怎样的标准?

　　达沃·霍根：考虑并置的艺术家并不是出于他们的相似点，虽然他们在表达作品时都具备严谨而充分的思考。但他们每个人的语言又那么的不同。这是一个不同寻常的聚会，他们汇集在一个空间“趴”一段时间，然后我们会来看看接下来会发生什么联系。

　　雅昌艺术网：这次的展览涵盖了老中青三代抽象艺术家的作品，展览希望呈现怎样的面貌?

　　达沃·霍根：我从不把他们限制为“抽象”艺术家。对于我来说，他们的作品抵达那种真实的、身体的和心理体验的世界。这种“存在于世界”的感受被他们用技巧和材料所转换和描述，而观众在展览里面对作品时会有最直接的感受。

　　雅昌艺术网：参展的8位艺术家，在各自的创作上有着怎样的特点?

　　达沃·霍根：虽然形式各异，但他们都是具有严谨思考的艺术家。他们每个都有复杂和丰富的作品系统。讨论他们的个别特点将有管窥全豹，以偏概全之嫌。这种过于强调个别特点的倾向也许会对作品的整体解读顾此失彼，然而，我们仍然可以列出部分他们的特点，不是强调，而是做为一个长期探讨的开始…

　　我们可以从肖恩·斯库利(Sean Scully)开始，他用非常厚重的颜料和被极度削减的绘画语言构造出一种情感和身体的强烈的矛盾对应。看似简单的标志性的条纹其实是用其所能地在表达它对这个世界的情感回应。面对强加的现实他们如同一直存在的见证人无声地呐喊着且用尽全力去挣脱枷锁。

肖恩·斯库利（Sean Scully） 《多里克灰粉》（Doric Grey Pink） 亚麻布油画（Oil on linen） 71.1 x 81.3 cm（28 x 32 in）   2016

　　相比之下，周力的绘画是打开的空间，在她的与光和影共同构造的画作表面，随着视线的转移，我们在其间升腾、下降或出离。周力生动地描述了不确定之力，画面里有强烈的视线之外和遥不可及的感受。周力的作品有其内在的呼吸节奏，并提请观众注意这种与众不同之处。

周力（Zhou Li） 《线-粉色之五》（Lines － pink No.5）  综合材料（Mixed media on canvas） 160 cm x 130 cm（63 x 51.2 in）  2016

　　光与影也是丽莲·托马斯寇(LilianeTomasko)作品里的核心表达，她个人生活里身体或内在的体验是她作品里那些线条和绘画的起点。托马斯寇从我们离开的地方回溯，棉布床单、折叠好的衣物、有角落的房间，在她的作品里都提请我们留意我们给这个世界留下的印迹。

丽莲·托马斯寇（Lilian Tomasko） 《绑缚》（Tied）  亚麻布油画（Oil on linen） 81.3 x 71.1 cm（32 x 28 in）  2015

　　里亚姆·杰里柯(Liam Gillick)关注我们视而不见的世界。他的大型装置、场地订制装置、建筑干预等作品具有晚期现代主义的特征。新城市的材料、工业处理的铝、钢和耐磨玻璃合在一起成为一体。因此，他们似乎也具有功能角色，但那是另一个分割的身份。有着极简主义和观念主义的融合，杰里柯的作品机智而轻松。

里亚姆·杰力珂（Liam Gillick） 《雪中驱逐》（Liquidation in the snow） 铝粉涂层，有机玻璃，独版（powder coated aluminium, plexiglas, Unique） 50 x 50 x 10 cm x 2（19.7 x 19.7 x 3.9 in） 2010 

　　刘可的作品着眼于我们所处的城市，表述再清楚些也许它们邀请我们去注视这个存在。刘可用各种不同纹理不同色调的材料来精致地梳理和建构或描述这个拥挤的存在感以及身在其间的我们。与他的生活一齐，他的工作系统具有连续性和可读性，这种解读也像有标识的地图有时有会与现实脱节。尽管如此，刘可引人注目的雕塑还有视觉之外的出人意料的功能，它们可以被处置为板凳，成为一个可以停驻下来冷静思索一切的地方。

刘可（Liu Ke） 《折合的几何体No.2》（Folded Geometry No. 2） 钢板喷漆（Steel plate painting Edition） 125 × 180 × 34 cm（70.9 x 49.2 x 13.4 in）   2015

　　伊莎贝尔·诺兰(Isabel Nolan)创作语言颇丰——羊毛地毯、壁挂、绘画、彩绘玻璃、钢卷结构等，她用或具象或抽象的语言为存在的普遍问题寻找答案。虽然作品形式很多，但问题都直指对于自身的反省以及我们该如何在这个世界上构建意义。回到诺兰在“趴刻”里的作品，它们表达了诺兰对于太阳的表达以及我们与这颗恒星之间的紧密关系。

伊萨贝尔·诺兰（Isabel Nolan） 《一幅给19世纪博物馆的地毯和致受惊人的柔软避难所》（A rug for a nineteenth-century museum and a soft haven for the overawed） 100% 手织新西兰羊毛，15mm 一叠（Hand-tufted 100% New Zealand Wool, 15 mm Pile）  2016 

　　可以说，寻找意义以及对于我们如何建构意义的理解成为了梅林·杰姆斯(Merlin James)内省和形式内容丰富的作品。与诺兰一样，杰姆斯在抽象和具象的题材之间的毫不费力地表述和转换。绘画的每一个元素都在被他测试和应用。除了绘画和题材外，艺术家还用物理测试般的方法丰富了绘画结构——画布(撕裂的，烧焦的，缝合的，不透明或透明的)的边框和托架都在作品的视觉里不可或缺，经年历久而突显其与时间共同完善的弥足珍贵感。

梅林·詹姆斯（Merlin James） 《跨越》（Crossing） 丙烯与综合材料（Acrylic and mixed media） 88 x 132 cm（34.6 x 52 in）   2016

　　而卡拉莫·伊内斯(Callum Innes)精致的绘画在建立意义和剥掉意义的欲望之间取得平衡。他的作品表达体积与缺席、存在与消失。观众的观感也随着艺术家的引领在作品里进出，这有点类同周力关于光与影的作品。通过那种奇异的叠加强烈颜色并消解它们的反复，伊尼斯带领我们抵达绘画焦虑的边缘。这是我们体验形式和虚空的时刻，所有的一切都处于不稳定之中，然后所有的一切都会消逝。

卡拉莫·伊尼斯（Callum Innes） 《画曝》（Exposed Painting）  亚麻布油画（Oil on linen） 82 x 80 cm（32.3 x 31.5 in） 2016

　　雅昌艺术网：我看到，参展艺术家来自于中西方，作品除了架上作品外，还有装置，是如何考量的?

　　达沃·霍根：本次展览缘起科林画廊团队与华艺廊总监王野夫先生的很多次深度交流，我们意在汇集不同的概念和表达的作品。我们对展览将会带来的新思考饶有兴趣。

　　雅昌艺术网：在您看来，中西方艺术家的抽象作品有哪些相同与不同?这些方面与他们的文化传统及背景有关吗?

　　达沃·霍根：长久以来，艺术家与任何别的身份的人，比如工厂工人、邮递员、建筑工人或教师一样总是被自己的文化传统和背景所塑造。但实际上我们每个人都有相似点也有不同点。这不是一个力图列举相似点或不同点的展览，一个群展所要做的是以实验性的方式把各种不同的表达聚拢一齐。

　　雅昌艺术网：这次展览将在广州、香港两地联展，广州有着浓厚的岭南文化底蕴，香港是融合中西方文化的城市，我会联想到，抽象艺术与地域文化的碰撞，您是如何看待，这次展览与广州、香港的艺术文化擦出的火花?

　　达沃·霍根：我们可以在不同的描述里将“趴刻”看作是碰撞或合作。展览的作品集合或抽象或具象的雕塑和绘画。而“趴刻”的艺术家，居住在中国、欧洲、美国，当然因为今天的现实情况是旅游和互联网已经使世界成为一个更小的共享空间。文化碰撞这样的考虑可能不再像听一首合唱曲那样重要或有趣。

　　Interview of Park(1)- Artron and Darragh Hogan -2017

　　Artron: Why the exhibition is named "PARK" (multiple meaning)? What is behind of the theme ?

　　Darragh Hogan: In this situation, the title ‘Park’ was considered for its role as a noun and a verb. Firstly, the idea of a Park as a place for escape in the urban setting is important. It is a shared space. It is a space without duty and obligation, a place we we can retreat to if only for a while to experience nature. Perhaps galleries should function like parks where we retreat to experience and consider art. In this instance Holly’s Gallery is already in a very beautiful and tranquil park in the centre of Guangzhou, China’s third most populated city.

　　The second reading of the title is quite simply to ‘park’. To stop the car, to take time, to be present. In, his 1996 poem entitled ‘Postscript’ the Irish Nobel Laureate, Seamus Heaney describes parking a car to ‘make the time’ to experience nature. He writes:

　　Useless to think you'll park or capture it

　　More thoroughly. You are neither here nor there,

　　A hurry through which known and strange things pass

　　As big soft buffetings come at the car sideways

　　And catch the heart off guard and blow it open

　　Perhaps it is possible if we take the time, any time with art, that we too could be caught ‘off guard’ and maybe our hearts could be blown open.

　　Artron: It is a group exhibition of 8 artists, what is the standard in the selection of the artists?

　　Darragh Hogan: There are no particular common concerns between each of these artists though there are many connections and each shares a rigorous and thought-full approach to making art. Each has a very distinct voice using very different language. It is an unlikely gathering, brought together or ‘parked’ for a period of time in the one room to see what associations might occur.

　　Artron: It is an exhibition covers three generations of abstract artists, what kind of show you want to present to the audiences ?

　　Darragh Hogan: I don’t really see any of the artists as ‘abstract’ artists. Each approaches the very real, physical and psychological experience of being in the world. This ‘being in the world’ is considered and articulated through a range of strategies and materials as you will experience when you view the range of work in the show. 

　　Artron: Can you stress the characteristics of the 8 artists in the show ?

　　Darragh Hogan: Each of the eight artists approach the production of art form very different but equally thoughtful positions. Each artist has a complex and rich body of work. It would be difficult and perhaps foolish to speak of particular characteristics that define each as that might deny the many different readings each work and each artist offers. However, it is possible to list some distinctions but these should be considered as merely starting points…

　　Sean Scully’s rich, dense oil paintings approach the complexity of emotional and physical contradictions through an extremely reduced or economical use of pictorial language. The seemingly simple gesture of the stripe is tested to its limits to express the range of emotional response to the world. They shout silently and attest to a continous struggle to break free of an imposed structure or live to the fullest within one.

　　In contrast Zhou Li’s paintings invite you to fall sometimes gently, sometimes abruptly in and out of structure as our eyes move between, around and through the light and shadows in her many interconnected surfaces. There is a robust strength in Zhou Li’s description of what is vague, out of focus, out of reach or untouchable. Zhou Li paintings seem to have their own breath or perhaps they draw attention to ours.

　　Light and shadow also take centre stage in LilianeTomasko’s work however the very real physical and intimate subject of the artist’s domestic world is often the starting point for the drawing and line that dominate her paintings. Tomasko looks back, with care, to what we normally walk away from, the bed linen, our folded cloths or corners of rooms drawing our attention to the complex imprint our bodies leave on the world.

　　Liam Gillick also considers the world we don’t see or have become accustomed to. His large-scale site specific structures, architectural interventions and objects employ the vocabulary of late modernism. The materials of the contemporary city, industrially produced aluminum, steel and Plexi-glass come together in structures that seem systematic. As such they appear to have a role or function but if they do they are separated or liberated from it. His work across many media approaches with wit and a lightness of touch the dual legacies of both minimalism and conceptualism.

　　Liu Ke’s work also looks to the city or perhaps more correctly it invites us to do the looking. Liu Ke’s refined building up of paint with various, different textures and differing tones speak to the rhythms of congested urban development and our place in the crowd. As in life, the systems in his work seem at times to connect and offer a readable legend, a map of sorts and at times the connection or route is denied. As though fully aware of the arresting effect of his work Liu Ke’s sculpture is generous enough to double up as a bench, some-where to sit, calm down and figure it all out.

　　Isabel Nolan creates a wide- ranging body of work – wool rugs, wall hangings, paintings, stained glass, coiled steel structures and objects both figurative and abstract in a continuous search for answers to universal questions about life. Although the work takes many different forms we are returned time and time again to consider our condition and how we construct meaning from the world. Central to the work selected for Park is Nolan’s interest in the Sun and our relationship to and dependence to this one guiding star.

　　It can be said that this search for meaning or to understand how we construct meaning continues in the varied and introspective work of Merlin James. Like Nolan, Merlin James moves effortlessly between abstract and figurative subject matter. The role of every physical element of the painting is put to the test. Along with paint and its subject matter the artist also incorporates physical elements of the painting structure. The canvas (torn, burnt, stitched, opaque or transparent) the frame, and the stretcher all play in a body of work that can take years to find completion as James returns to each to consider them time and time again.

　　Finally, Callum Innes’ delicate paintings strike a balance here between the desire to build meaning and take it away. His work simultaneously articulates volume and absence, our presence and our disappearance. Like the light and shadows of Zhou Li’s work we are brought in and out of the work. Through a singular process of repeatedly layering intense colour and then dissolving it Innes takes us to the anxious edge of painting. The point where we experience form and the void the moment where all is at stake and all is washed away.

　　Artron: We can see that it is a show containsartists from the west and from China, the works are made of variousmediums, paintings, installations, sculptures, do you have special consideration of the presence?

　　Darragh Hogan: This exhibition was born out of many discussions between Yefu Wang at Holly’s Gallery and the team at Kerlin Gallery. Our desire was to bring together work that differs conceptually and physically. Our interest is in the new questions this might raise.

　　Artron: What are the similarities and differences between the abstraction works of the western artists and Chinese artists in your opinion?Do you think these aspects are related to their cultural traditions and backgrounds?

　　Darragh Hogan: Artists like anyone; factory workers, postmen, builders or teachers are always shaped by the conditions of their own cultural traditions, backgrounds and the conditions of where they may be at any given moment. Like everyone in the world each of us is both similar and different. This show does not pretend to list those similarities and differences but like any group show it does gather together very different approaches as an experiment of sorts.

　　Artron: this exhibition will be held in Guangzhou and Hongkong. Guangzhou is a city of a strongsouthern cultural heritage, and Hongkong is a metropolitan which is a fusion of the west and the east, in this casethey make me to consider the shows are the collision of the abstract art and the local culture, and what do you expect in the shows, some sparks after the cultural collisions?

　　Darragh Hogan: The show could be considered a collision or collaboration of many different descriptions. In terms of the work the show brings together sculpture and painting both abstract and figurative. With regard to the artists, they live and work in a range of places, China, Europe and the USA. But the reality of today is that travel and the internet has made the world a smaller and shared space. The question of cultural collision may no longer be as important or as interesting  as listening to a chorus of voices.

达沃·霍根(Darragh Hogan) 

　　达沃·霍根(Darragh Hogan) 

　　1973年生于都柏林，毕业于艺术史和艺术专业，曾为纽约亨特大学的富布赖特学者，达沃•霍根是科林画廊总监，科林画廊将在2018年迎来其三十周年庆。

　　Born in Dublin in 1973, Darragh Hogan studied art and art history and was a Fulbright Scholar at Hunter College, New York. He is a Director of Kerlin Gallery Dublin. Kerlin Gallery celebrates its 30th anniversary in 2018.