以下文章來源於IICPechino ，作者IIC Pechino
IICPechino
北京義大利文化中心-義大利駐華使館文化處為你推送最新活動信息，以及關於義大利的一切
We are very glad to announce that on the 12th of November will open the exhibition 「FONDA AND THE GREAT JOURNEY」, a solo show of the artist Lorenzo Fonda, hosted by the Yuan Art Museum in Beijing.
This event of Italian contemporary art is the first great Italian exhibition organized in Beijing since the outbreak of the COVID-19 pandemic and will be followed in the next months by other important exhibitions and live events organized by the Italian Embassy and the Italian Institute of Culture.
The opening ceremony will be held on November 12th at 4pm at Yuan Art Museum.
我們非常高興地宣布，《洛倫佐·方達——偉大的旅程》展覽將於11月12日在北京元典美術館開幕，這是藝術家洛倫佐·方達的一次個展。
這是自新冠肺炎-19爆發以來在北京舉辦的首個義大利當代藝術大展，在接下來的幾個月，義大利駐華使館和文化中心還將舉辦各類展覽和線下活動。
展覽開幕式將於11月12日16時在元典美術館舉行。
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Lorenzo Fonda (Piran,1947) has long been inspired by two ancient Greek myths that were absorbed by the Roman world and have crossed through Mediterranean over the centuries.
The protagonist of the Odyssey occupies a sizeable space in the western imagination, which is rooted in the Mediterranean.
After the Trojan War, Ulysses, by this point famous, set out on his return journey back to the island of Ithaca. A journey for not forgetting the return, in spite of the numerous traps of forgetfulness where forgetting the return means abandoning one’s own destiny, one’s own identity. A journey that is also arduous regaining of self.
Prometheus draws on the relationship between gods and men, a relationship that develops, however, through deception and theft. Which is why numerous philosophers have seen Prometheus as the beginning of the death of God.
The great journey proposed by Fonda starts from the four elements: earth, air, water and fire. The elements, which Fonda represents without recourse to codified symbols, open up to a journey into the events narrated in the Homericpoems but at the same time the start of an interior journey, a sapiential path taken by man.
The group of paintings that draw on Ulysses can be freely interpreted. The four lustra of the voyage depict the young Ulysses departing for Troy, hungry for war victories and honours, and the by now mature man of the return, his mind time and time again shackled and torn, but always with the invincible strength of wanting to continue the quest for knowledge.
A special note should be made of the large oil on canvas (213 x 267 cm) Prometheus and the Eagle (Castigo divino), for its exemplary expression of so much of Fonda’s way of doing and understanding painting.
Landscape, usually with a high horizon line, makes its appearance in the final group of works. Here, as for Ulysses, we enter into the theme of homeland, the land of ancestors. The return landscape was given shape by Fonda as the hills that pepper so many Renaissance landscapes.
Fonda’s painting is part the result of long reflection and part the result of split-second execution. Using his camera lens, he begins to map out in his mind portions of paintings and sound out different plastic solutions, then moving on to piling image upon image until, like an overflowing river, iterupts with overwhelming force on the surface of his paintings.
The dark background of the works of this artist is never an absence, but a protagonist. The void is a fundamental part of Fonda’s poetics, the necessary counterweight to his masterful harmony. This is favoured by the fact that Fonda, while a scrupulous photographer enamoured with clarity, does not actually seek out minute detail in his imagery. His is a master fully scenographic approach and as such expresses all of his potency in the never too close view of the whole. This choice allows him, on the one hand, rapid execution and, on the other hand, clear connection with the monochrome fields of matter-based art and Art Informel derivation.
Fonda’s works on mythological themes raise the question of the journey that awaits each one of us when we find the courage and determination to abandon the apparent safety of our small ports to venture into the open sea, like Ulysses, towards the incomparable adventure of a life truly lived.
很久以來，洛倫佐·方達（伊斯特利亞，1947-）的創作靈感都來源於兩個古老的希臘神話。它們融入了羅馬世界，在幾個世紀中穿越地中海和西方文化。
西方人的想像根植於地中海，而《奧德修紀》的主人公在那個想像世界中佔據了很大的空間。特洛伊戰爭結束後，盛譽在身的尤利西斯要踏上返回伊薩卡島的旅程。這是一次為了避免遺忘而展開的旅行，其間他遭遇了眾多的誘惑，而流連忘返就意味著放棄自己的命運和身份。這是一次艱難的旅行，也意味著對自我的徵服。
普羅米修斯的故事涉及到人與神之間的關係，但這種關係的發展藉助了欺騙和盜竊。因此，許多哲學家認為，普羅米修斯的出現意味著上帝之死的開始。
通過對地中海文化的表達，以及兩個歷史悠久而又意味深長的神話，土，空氣，水和火等四個元素開啟了方達作品所展現的偉大旅程。在對這四個元素的表現中，方達並沒有求助於傳統的象徵，而是開啟了通往荷馬史詩中敘述的事件的旅程，以及一段心路歷程，一次人類智慧之旅。
以尤利西斯為主題的一組繪畫所採用的詮釋方法則更加自由。畫作跨度二十年，描繪了一個年輕、機靈而又狡猾的尤利西斯，他前往特洛伊，渴望在戰爭中獲得勝利和榮譽；還有一個已經成熟和踏上歸途的尤利西斯，他曾經一遍又一遍地遭到束縛和感情的折磨，但始終具有不屈不撓和繼續尋找知識的力量。
在這些作品當中，特別值得一提的是標題為《普羅米修斯與老鷹》的布面油畫（213x 267釐米），它典型地表現了方達大部分作品的創作手法及對於繪畫的理解。
最後一組作品是風景畫，其中的地平線大部分被上移。如同以尤利西斯為主題的畫作一樣，我們進入到故鄉、祖先之土地的主題、方達用文藝復興中如此眾多的山巒形象來表現歸根的強烈情感。
方達的畫作經過了長時間的思考，幾乎是將一個個局部逐一咀嚼，然後又如閃電一般般快速完成。藉助相機的鏡頭，畫家開始在腦海中勾勒繪畫的各個部分，嘗試著塑造不同的形體，隨後將圖像彼此堆疊，直到爆發出一股巨大的力量，如同洶湧的河流一樣傾瀉於畫布之上。
在他的作品中，黑暗背景永遠不會缺席，而是主角。虛空是方達繪畫詩學的基本組成部分，也是用來達到一種智慧而成熟的和諧平衡的必要手段。方達雖然是一位嚴格的攝影師，但他喜歡乾淨而純粹的線條和鮮明的對比，所以，他完全不會試圖在其作品中表現細枝末節。方達採用的是一種精妙的舞臺布景式方法，也就是從整體上表達全部的力量，卻永遠不會太過靠近。這種選擇一方面可以加快創作的速度，另一方面也可以與材料和非正式手法創造出來的大面積單色背景完美呼應。
方達的以神話為背景的作品中提出的問題，關係到我們每個人期待的那場旅行：我們是否有勇氣和決心放棄表面上安全的小碼頭，像尤利西斯那樣駛向大海，為了真實的生活而進行一場無與倫比的冒險。
Lorenzo Fonda
Born in Istria (Piran) in 1947, Lorenzo Fonda and his family moved to Trieste as exiles when he was just five years old. This traumatic event contributed to the development of an indomitable nomadic spirit.
After the death of his father in 1963, Fonda went to Paris at just sixteen years of age, drawn by the life and work of Toulouse Lautrec, Picasso and Modigliani. He devoted endless days to studying the masterpieces of great artists at the Louvre, where Caravaggio’s Death ofthe Virgin struck him like a flash of lightning.
His laborious journey and endless research continued, and in 1980 he met Alberto Burri (1915 –1995), sparking off a professional and personal friendship that lasted years. Surrounded by this exceptional mix of influences, he developed self-awareness while searching for his own style, a poetics rich in mystery and symbolic references.
Fonda’s career proceeded steady and sure, packed with successes and extraordinary encounters with intellectuals, artists, actors, singers and entertainers, as well as the rulers and political leaders of lands near and far.
Since 1988, he has designed the official poster for the annual Umbria Jazz Festival. 1988 was also the year that he began his activity as a set designer, with the sets, the first in a long series, for a play by the actor and director Giorgio Albertazzi (1923–2016), Dannunziana.
For the American director and actor Robert Redford, he painted the work that became symbolic ofthe USA/USSR summit, Green Glasnost (1989).
In the early 1990s, the nomadic spirit that defines his sense of belonging in the world led Fonda to move to Jordan, where Queen Noor commissioned him to create a series of large paintings for King Hussein of Jordan.
Between 1995 and 1996, the artist concentrated on producing a series of large paintings expressing the history of Jordan.
Between 2000 and 2001, sponsored by the Embassy of Italy in Australia, major solo exhibitions of his work were held at the University of Sydney, in Melbourne and in Brisbane. He has also enjoyed considerable success in the United States, where his paintings can be found in various private art collections.
Returning to Italy, drawn by the opera world, he directed and designed the sets and costumes for Verdi’s Don Carlo at the Sferisterio in Macerata in 2005. He also designed the sets for the production of Richard Strauss’s Salomè that opened the 2007 opera season at the Teatro dell』Opera in Rome; directed and designed the sets and costumes for Verdi’s Don Carlo at the Tampere Theatre in Finland in 2009 and designed the sets and costumes for Mascagni’s L'amico Fritz at the Teatro Verdi in Trieste in 2012.
Church patrons have commissioned him to create numerous monumental religious paintings. One of them, a Vatican commission in connection with the Pontificio Consiglio della Famiglia, led to a meeting with Pope Francis in 2014,
He has held numerous solo exhibitions outside Italy: Antwerp (Campus Gallery, 1972), Washington D.C. (Andreas Galleries, 1984, 1986, 1989 - Italian Embassy, 2007), New York (Di Laurenti Galleries, 1987), Bonn (Galerie Villa Rolandseck, 1993, 1994, 2004), Melbourne (Arts sans Frontier Gallery, 2000), Sidney (University of Sidney, 2000), Brisbane (Medusa Gallery, 2001), Vienna (Italian Cultural Institute, 2007).
In 2011, he was invited to display his work in the Italian Pavilion of the 54th Venice Biennale. For Expo 2015, he displayed four large paintings alongside works by other important Italian artists in the Italian Pavilion for contemporary art in Aichi, Japan.
Some of his most important paintings are found in the Farnesina Art Collection, the prestigious permanent collection of Italian art of the Italian Ministry of Foreign Affairsand International Cooperation.
洛倫佐·方達於1947年出生於斯洛維尼亞伊斯特利亞半島上的皮蘭市，五歲時，他與遭遇放逐的全家遷居義大利的特裡雅斯特。這個痛心的經驗在他身上激發出一種無法遏制的遊牧精神。
1963年，年輕的方達受羅特列克、畢卡索和莫迪利亞尼的生平及作品的吸引，在做醫生的父親去世後不久，便來到了法國首都。他終日在羅浮宮的大師傑作前流連忘返，潛心學習，其中，卡拉瓦喬的《聖母之死》深深地打動了他。
在他不斷探索、勤奮創作的過程中，他在1980年結識了阿爾貝託•布利（1915 - 1995），以後多年中，方達與他分享工作經驗、私人生活和一種真正的友情。藉助這一非同尋常的友情，方達得以認識自己，開始尋求自己的風格，一種充滿神秘感和象徵聯想的審美理念。
藝術家持之以恆地自信地前行，他的藝術歷程充滿了令他滿意的經驗，充滿了與各界人士的飛回會面，包括知識分子、藝術家、演員、歌唱家、戲劇界人士、遙遠國度的總督和首腦。
自1988年始，他為翁布裡亞爵士節設計官方海報。依然是1988年，他開始了以後漸趨頻繁的舞臺設計工作，為喬爾喬·阿爾貝塔茲（1923-2016）的《鄧南遮女性》設計布景。
1989年為美國導演、演員羅伯特·雷德夫繪製《綠色公開政策》，成為美俄峰會的標誌性作品。
上世紀90年代初，讓他自覺是世界大家庭成員的遊牧精神，使他決定去約旦生活。應約旦太后的邀請，他為海珊國王創作了一系列大型畫作。1995至1996年，藝術家傾心創作一組巨幅繪畫來敘述約旦歷史。
2000至2001年，在義大利駐澳大利亞大使的支持下，方達在雪梨大學參議廳及墨爾本和布裡斯班舉辦重要個展。他在美國也大獲成功，繪畫作品進入了私人收藏。
回到義大利後，他深受歌劇的吸引，為馬切拉塔半圓形劇場上演的威爾第的《唐卡洛斯》（2005）設計了巨大的場景和服裝。2007年，理察·史特勞斯的《莎樂美》揭開了羅馬歌劇院的歌劇季，方達設計了歌劇的場景；為芬蘭坦佩雷市劇院，他導演了威爾第的《唐卡洛斯》（2009），並擔綱舞臺和服裝設計；為特裡雅斯特的威爾第劇院，他於2012年設計了馬斯卡尼的《友人弗裡茲》的布景和服裝。
他多次接受教會的委約，創作了宗教主題的巨幅畫作，尤其是為梵蒂岡的宗座家庭理事會創作的《家庭是神聖的》一畫，因為這幅作品，2014年時，他有幸與方濟各教皇會面。
他在國外舉辦了許多個展，包括安特衛普（Campus畫廊，1972年）、華盛頓特區（Andreas畫廊，1984、1986、1989年；義大利大使館，2007年）、紐約（Di Laurenti畫廊，1987年）、波恩（Villa Rolandseck畫廊，1993、1994、2004年）、墨爾本（藝術無國界畫廊，2000年）、雪梨（雪梨大學，2000年）、布裡斯班（美杜莎畫廊，2001年）、維也納（義大利文化中心，2007年）。
2011年，他應邀參加第54屆威尼斯雙年展義大利館的展覽。在2015年的日本愛知縣世博會期間，他在義大利當代藝術館展出了四幅巨大的木版畫，它們至今仍與義大利其他重要藝術家的作品一起展示。
他的一些重要繪畫被義大利外交部收藏，這是一個隸屬外交及國際合作部的義大利當代藝術的重要的永久收藏。
Alberto Mazzacchera
Art consultant and curator of exhibitions in private galleries and museums in Italy and Europe, focused for the most part on modern and contemporary art.
A scholar and art advisor for important collectors, he has authored numerous volumes, essays and videos on art history and criticism.
Councillor to the Minister of National Heritage and Culture during the second Prodi government, he then served as the culture expert for the Cultural Heritage and Activities Councillor of the Region of Marche. He also served as a member of the Regional Culture Observatory of the Region of Marche and advisor to the Teatro Stabile of Marche.
He has promoted and coordinated the restoration of more than 160 works of art on public view (altar pieces, old paintings, frescoes, statues, parade standards, stucco work, stone doors, wooden ceilings, wooden choirs, marble and wood architectural altar structures, old organs and etc.). He has conceived important regional projects that led to the restoration of major buildings and monumental complexes, particularly in Marche.
He has recovered important works of art including the large sixteenth-century fireplace by Ammanati, which had been taken to Washington D.C. in the early twentieth century, the vast cycle of fourteenth-century frescoes by Mello da Gubbio in the church of San Francesco in Cagli, covered over in the sixteenth century, and the altar piece by Gaetano Lapis carried off by Napoleon’s supporters in 1811 and put back on the high altar of the church of San Niccolò in Cagli.
He has received numerous awards and honours for his work, including personal mention in the awarding of the Premio Rotondi ai salvatori dell』arte (National Rotondi Award for Art Rescuers) and conferral of the title Officer of the Order of Merit of the Italian Republic.
阿爾貝託•馬扎切拉
馬扎切拉是義大利及歐洲的私人畫廊和博物館的藝術顧問及策展人，主要關注現當代藝術。
作為學者及重要收藏家的藝術顧問，他撰寫了有關藝術史及藝術評論的多本專著、論文及視頻。
在羅馬諾·普羅迪第二次就任義大利總理期間，他擔任義大利文化遺產部顧問，以後他成為馬爾凱大區文化遺產及活動局的文化專家。此外，他曾是馬爾凱大區文化觀察站成員及馬爾凱劇院顧問。
他還推舉並協調了對公眾展出的160多件藝術品的修復（祭屛、古畫、壁畫、雕像、遊行旌旗、灰泥裝飾、石門、實木天花板、木椅、大理石和木質祭壇建築結構、古管風琴等等）。他為大區構思了重要項目，使馬爾凱地區的主要建築及大型建築群得以修復。
他使一些重要的藝術品失而復得，包括20世紀初葉被帶去華盛頓的阿曼納蒂的16世紀的大型壁爐，卡利鎮聖方濟各教堂中梅洛·達·古比奧的14世紀的巨幅系列壁畫，拿破崙支持者於1811年劫奪的加埃塔諾·拉比斯的祭屏，它以後又被放回到卡利鎮聖尼古拉教堂的主祭壇上。
因為他的工作，他榮獲了許多獎項和榮譽，包括「國家藝術拯救者『羅通迪』獎」頒獎儀式上的提名，以及義大利共和國的榮譽勳章。
Fonda and the Great Journey
Mediterranean Myth and Reality:
Ulysses and Prometheus
洛倫佐·方達 偉大的旅程
地中海神話與現實：尤利西斯和普羅米修斯
2020.11.12-12.28
From Tuesday to Sunday, 10am-5:30pm
周二至周日，10:00 - 17:30
Yuan Art Museum
112 Lizexiyuan, Wangjing, Chaoyang District, Beijing
北京元典美術館
北京朝陽區望京利澤西園112號
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原標題：《洛倫佐·方達 偉大的旅程 Fonda and the Great Journey》
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