BROWNIE Project 画廊正在展出来自艺术家莫罗· C ·马丁内斯在中国的首次个展《Le premier homme 第一个人》。此次展览呈现了马丁内斯最新创作的架上绘画及雕塑作品，某种程度上呼应着马丁内斯去年在伦敦的个展“The Last Man 末人”。展览标题源于作家加缪的自传，“第一个人”亦多少是对尼采“末人”的回应，这第一个说不的人、第一个欲以脱离当下境遇的人，隐匿着对世界之荒诞的反抗。
BROWNIE Project gallery is now presenting Mauro C. Martinez' s first solo exhibition in China. This exhibition features Martinez's most recent paintings and sculptures, it to some extent echoes Martinez’s past solo exhibition ‘The Last Man’ in London last year. The title of the exhibition is inspired by Camu’s autobiography. ‘The first man’ is somewhat a response to Nietzsche’s ‘last man’. This first man who says no, this first man who longs to escape from the current situation, is also a man quietly harbors an intention to resist the absurdity of the world.
｜ 艺术家 Artists ｜
莫罗·C·马丁内斯
Mauro C. Martinez
｜展期 Duration ｜
2023年7月29日 - 2023年9月11日
July 29th - September 11th, 2023
｜地址 Address｜
上海市普陀区莫干山路50号6号楼105室
Rm105, Bldg 6, 50 Mo Gan Shan Rd, Shanghai
莫罗·C·马丁内斯
Mauro C. Martinez
1986年出生，现居美国德克萨斯州。莫罗·C·马丁内斯将艺术史上传统的绘画形式与我们在这个日益数字化的社会中引以为常的网络图像并置，其作品巧妙地运用隐喻、讽刺和黑色幽默，回应网络文化的教条主义，同时批判并嘲讽人和当代图像的关系。
“Meme”一词源自希腊语“mimēma”，意思是“被模仿的东西”。当一种创作模仿另一种创作时，会产生讽刺的内在潜力。马丁内斯与迷因这个文化现象互动，以审视一个热衷于图像消费的社会，并提出这样一个问题：“当你模仿被模仿者时会发生什么?” 迷因具有某些固有的特质: 制作迅速、粗糙，带有批判性但显得轻率，传播迅速且受众广泛。这些特质与传统油画形成鲜明对比，马丁内斯将两者融合，并挑战看似对立的图像制作惯例。
马丁内斯的作品在全球范围内广泛展出，并被以下机构收藏：Bunker基金会（鲁丁·德·伍迪收藏）洛杉矶，美国；Emergentes Art Foundation，贝鲁特，黎巴嫩；M+博物馆，香港，中国；Para Site，香港，中国；罗宾斯收藏，伦敦，英国；W艺术基金会，香港，中国；潇当代美术馆，日照山东，中国等。
Born in 1986, and lives in Texas, USA. Mauro C. Martinez juxtaposes common pictorial forms from art history with the monotonous streams of online imagery that we, as an increasingly digital society, are so often subjected to. Skillfully utilising metaphor, irony and dark humour, Martinez’s paintings respond to the doctrines of internet culture, at once critiquing and mocking our relationship with contemporary imagery.
The word ‘meme’ stems from the Greek ‘mimēma’ which means ‘that which is imitated’. When one object or creation imitates another there is an inherent potential present: namely, the potential for satire. Martinez interacts with the cultural phenomenon of the meme in order to examine a society hell-bent on voracious image consumption and, in doing so, to pose the question “what happens when you imitate the imitated?” The meme has certain inherent qualities: it is quickly made, somewhat crude, critical yet flippant and has the potential to reach immensely large audiences extremely quickly. These traits contrast starkly with that of traditional oil painting, Martinez fuses the two and simultaneously challenges the conventions of seemingly opposed image making.
Martinez's works are exhibited worldwide and collected by the Bunker Foundation (Rudin Woody Collection), Los Angeles, United States; Emergencies Art Foundation, Beirut, Lebanon; M+Museum, Hong Kong, China; Para Site, Hong Kong, China; Robbins Collection, London, UK; W Art Foundation, Hong Kong, China; Xiao Contemporary Art Museum, Rizhao, Shandong, China, etc.
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