展览时间：2022年1月14日-2022年3月27日
展览机构：TAG西海美术馆
展览地址：青岛西海岸新区唐岛湾南岸
策展人：玛丽昂·梅耶
展览出品人：孟宪伟
展览海报
展览介绍：
前言
《曼·雷与缪斯》
作为20世纪艺术的先驱人物，曼·雷（1890-1976）此次在TAG·西海美术馆的《曼·雷与缪斯》大型艺术展览，将呈现其职业生涯中的多重艺术身份——达达主义者、巴黎超现实主义者、肖像以及时尚摄影师、画家、电影制作人、作家和雕塑家——曼·雷创作了许多极具影响力且经久不衰的作品。本次展览囊括曼·雷近250件作品，涵盖了摄影、绘画、雕塑、珠宝、文献资料等媒介，回顾其作品在多元文化背景下的成熟过程，探索艺术家与“缪斯”们丰富而又矛盾的关系：从第一部达达作品到肖像摄影，从雕塑到纸上创作，从时尚设计到超现实主义作品。本次展览将结合曼·雷的自传《自画像》中的人生经历篇章，以四个单元呈现：“纽约（1890-1921）”；“巴黎（1921-1940）”；“好莱坞（1940-1951）”；“重返巴黎（1951-1976）”。
《安格尔的小提琴》 曼·雷 1924年 明胶银盐相纸（后印）
《可可·香奈儿》 曼·雷 1935年 明胶银盐相纸（后印）
本次展览旨在通过回溯曼·雷镜头下寻找真我的人生历程，强调艺术家的魅力与天赋，共感他敏锐的感知力和对艺术的冲动性。曼·雷出生于费城，成长于纽约，并于1921年7月抵达巴黎，成为第一位融入巴黎前卫艺术圈层的美国艺术家，并与众多名人（艺术家马克斯·恩斯特、萨尔瓦多·达利、服装设计师布里埃尔·香奈儿、作家欧内斯特·海明威、艺术家马塞尔·杜尚等）保持着不同亲密度的关系。第二次世界大战后，曼·雷移居至好莱坞，并于1951年重返其“理想的精神家园”巴黎。而在成为专业摄影师后，他在时尚摄影与绘画类创作的渴望之间不断摇摆。此次展览汇集了他作品以及情感的复杂性，不仅呈现了他与独特艺术形象（如他超前的对于非洲艺术的欣赏和重塑）的构建之间的动态联系，更是充分演绎了他的情爱纠葛与艺术手法碰撞出的化学反应。他整个职业生涯中一系列微妙的、加密的自我参照，使曼·雷不断地进行自我否定和提升——每一次恋情都会带给他全新的创作激情和灵感元素——换句话说，他如获得了一个全新的灵魂。因此，这些缪斯们不仅使曼雷本人着迷，也使所有的观者着迷。正如他的达达主义挚友马塞尔·杜尚一样，他不断对于艺术形式进行探索与创新，凭借独特的个性和多元文化背景给予的创造力，为当代艺术发展提供了一种崭新且充满生命力的表现方式和艺术观念。
《罗丝·瑟拉薇肖像》 曼·雷 1921年 明胶银盐相纸（后印）
《天文台时间——情人》 曼·雷 1934-1967年 多色石版画
Man Ray and His Muses
Man Ray (1890-1976), a pioneer of 20th century art, exhibited numerous artistic identities throughout his career--Dadaist, Parisian Surrealist, portrait and fashion photographer, painter, filmmaker, writer and sculptor. He created many extremely influential and enduring works. "Man Ray and His Muses" will be on display at TAG Art Museum from January 14, 2022 until March 27, 2022. This exhibition features approximately 250 diverse works from Man Ray, elucidates his gradual maturation as an artist, presents the entire spectrum of his rich creativity against a multicultural backdrop, and examine the complex and conflicting relationship that exists between the artists and his "muses". From his earliest Dada work to portraits and landscapes, from fashion to surrealist pictures, from his commercial works to his series of sculptures and publications. This exhibition integrates four chapters of his life experience of his autobiography Self-Portrait, which is presented in the order of cities he lived: New York (1890-1921); Paris (1921-1940); Hollywood (1940-1950); Returning to Paris (1951-1976).
The objective of this exhibition is to chronicle Man Ray's search for himself throughout his life and to share the sharp artistic perception and creativity he evolved of his conversion across various cultural contexts. As an American whom spent most of his teenager-hood in New York, Man Ray arrived in Paris in July 1921 and became the first American artist accepted by the avant-garde art circles in Paris. He maintains relationships of varied degrees of intimacy with many celebrities such as Max Ernst, Salvatore Dalí, Gabrielle Chanel, Ernest MHemingway and Marcel Duchamp etc. He remained in Paris until World War II, then moved to Hollywood until relocating permanently to Paris in 1951. After becoming a professional photographer, he constantly swayed between his work (portrait and fashion photography) and his desire to draw artworks. This exhibition illustrates his dynamic interaction with the intricacy of his work, the progression of his artistic production, and the construction of his distinct artistic image (such as his advanced appreciation and reshaping of African art). It also fully interprets the chemical reaction of the collision between his love entanglements and artistic techniques. Man Ray has consistently inscribed and corrected himself throughout his career, as indicated by a series of subtle, encrypted self-references. In other words, it acquires a new soul and as a consequence, not only Man Ray, but all viewers, were enthralled by these muses. Man Ray, like his Dadaist comrade Marcel Duchamp, appreciates experimenting with and innovating new art forms. Man Ray has developed a vision to revolutionize the way modern art is conceptualized, owing to his inherent independence and originality as a reflection of his own multicultural identity.