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拍品专文
"We decapitate objects, animals and vegetables. We present them foreshortened, the cut at the front, and what do we see?
Nothing, zeroes, hosts, white o's.
An accumulation of paint."
Miquel Barceló, quoted in Miquel Barceló. 1987 - 1997, Barcelona 1998.
"Still lifes - even before they begin to be painted - have been deliberately assembled: objects which the painter finds intriguing or touching have been arranged as compositions on the table or shelf. (...) The drama in a still life is the drama found in juxtaposition, a placing, an encounter, within a protected space. (...) They are images of residence, in every sense of the term. And so the painter is forced to study the neighbourliness of the things in front of him, how they adjust and live together, how they intersect, overlap and keep separate, how they converse...
"The portraitist contests the mortality of his sitter. The landscape painter contests the ceaseless movement of nature; the history painter the forgetting of history; and the still life painter the dispersal of objects. His antagonists are decay, the bailiff and the junk merchant...
"Barceló paints on the ground, as if with a stick in the dust. In his still lifes there is no affluence and little security - enough maybe for the next twenty-four hours. And this is where they differ from their predecessors - Zurbaran, Morandi, Cezanne - and why they belong specifically to the end of their millennium.
"His fruit, carcasses and fish offer no illusion of permanence. What he is painting with each thing that he handles is a moment, a phase, in a repeated cycle of seeding, flowering, fading, dying. The paintings make this clear. They do not celebrate what things look like. What they celebrate, accidents notwithstanding, is recurrence, and the secret of recurrence is mortality. Barceló's still lifes oppose the crass promises of consumerism with the insinuation of death and the respect which death demands."
In its own way, this work, Gueules de poissons, is an image of paradise: "...A paradise that has nothing to do with perfection, for perfection is unlovable, and if there's no love in paradise, what is it? Barceló's is a paradise painted on the reverse side of pain, following the same contours. The infinity he confronts is that of desire. (extract from The Peter Fuller Memorial Lecture, presented by John Berger at the Tate Modern, London, July 2000.)
Nothing, zeroes, hosts, white o's.
An accumulation of paint."
Miquel Barceló, quoted in Miquel Barceló. 1987 - 1997, Barcelona 1998.
"Still lifes - even before they begin to be painted - have been deliberately assembled: objects which the painter finds intriguing or touching have been arranged as compositions on the table or shelf. (...) The drama in a still life is the drama found in juxtaposition, a placing, an encounter, within a protected space. (...) They are images of residence, in every sense of the term. And so the painter is forced to study the neighbourliness of the things in front of him, how they adjust and live together, how they intersect, overlap and keep separate, how they converse...
"The portraitist contests the mortality of his sitter. The landscape painter contests the ceaseless movement of nature; the history painter the forgetting of history; and the still life painter the dispersal of objects. His antagonists are decay, the bailiff and the junk merchant...
"Barceló paints on the ground, as if with a stick in the dust. In his still lifes there is no affluence and little security - enough maybe for the next twenty-four hours. And this is where they differ from their predecessors - Zurbaran, Morandi, Cezanne - and why they belong specifically to the end of their millennium.
"His fruit, carcasses and fish offer no illusion of permanence. What he is painting with each thing that he handles is a moment, a phase, in a repeated cycle of seeding, flowering, fading, dying. The paintings make this clear. They do not celebrate what things look like. What they celebrate, accidents notwithstanding, is recurrence, and the secret of recurrence is mortality. Barceló's still lifes oppose the crass promises of consumerism with the insinuation of death and the respect which death demands."
In its own way, this work, Gueules de poissons, is an image of paradise: "...A paradise that has nothing to do with perfection, for perfection is unlovable, and if there's no love in paradise, what is it? Barceló's is a paradise painted on the reverse side of pain, following the same contours. The infinity he confronts is that of desire. (extract from The Peter Fuller Memorial Lecture, presented by John Berger at the Tate Modern, London, July 2000.)