Michelangelo Pistoletto (Italian, born 1933)Mir-Noir 7
1986

charcoal and mirror on paper laid on canvas

169 x 213 cm (66 9/16 x 83 7/8 in)

This work was executed in 1986.注脚Provenance
Galerie de France, Paris
Xin Dong Cheng Gallery, Beijing
Acquired directly from the above by present owner in 2006

Exhibited
Paris, Galerie de France, Michelangelo Pistoletto, 2004

米開朗基羅·皮斯特萊托
Mir-Noir 7
炭筆 鏡面 紙本裱於畫布
1986年作

來源
巴黎法國畫廊
北京程昕東畫廊
現藏家於2006年購自上述畫廊

展覽
「米開朗基羅·皮斯特萊托」，巴黎法國畫廊，2004年


Pistoletto exhibited a site specific work, Le Temps du Miroir (The Time of the Mirror) in 1986 at the Le Magasin - Centre National d'Art Contemporain, Grenoble. Drawing on paper laid on about 680 square metres of wall with charcoal, Pistoletto created a totality of an environment in the sombre black of charcoal. A monumental mirror was displayed at the centre of the exhibition hall. Le Temps du Miroir (The Time of the Mirror) is the basis the Mir-Noir series of works – which includes the present lot - was developed.

Michelangelo Pistoletto began painting on mirrors in 1962, connecting painting with the constantly changing realities in which the work finds itself. Pistoletto has been quoted as saying, "In my mirror-paintings the dynamic reflection does not create a place, because it only reflects a place which already exists - the static silhouette does no more than re-propose an already existing place. But I can create a place by bringing about a passage between the photograph and the mirror: this place is whole time."

An imposing wall of seemingly inscrutable scrawls, furrows and scratches in charcoal overcome the viewer initially, until a silver of mirror is discovered revealing itself in the top right hand corner. The mirror, through the reflection it comes to bear, connects the painting with the constantly changing realities in which the work finds itself, and immediately the viewer is potentially capable of grasping an infinity of spaces through the mirror-picture.

一九八六年米開朗基羅・皮斯特萊托在法國格勒諾布爾國立當代藝術中心展出一件限地製作的裝置作品，取名為《鏡子的時間》。他用炭筆畫在紙上，創造出面積約六百八十平方公尺的大壁畫，炭筆的暗黑色在空間中營造出肅穆陰鬱的氛圍，同時他在展廳中央安置一面紀念碑式的鏡子。展覽過後，皮斯特萊托以這件作品作為基礎，持續發展出「鏡・黑」（Mir-Noir）系列，其中便包括了此件拍品。

皮斯特萊托從一九六二年起嘗試在鏡子上作畫，藉由此法將繪畫與作品所處瞬息萬變的現實連結在一起。他曾經這麼說：「我的鏡畫能折射出豐富的畫面，但這些畫面無法構成新的空間，只能反映出既有空間的樣貌——靜止的剪影充其量只是已存在空間的再現，別無其他。然而我可以在攝影和鏡子之間建立一個通道，從中創造出新的場域，那個場域便是時間的維度。」

皮斯特萊托用炭筆在高聳的牆壁留下謎般的狂寫、轍跡和刮痕，散發出強大的感染力，接著觀眾會發現在左上方有一面銀色的鏡子。鏡畫折射出變幻莫測的周遭環境，使得繪畫與現實產生了連結，讓觀眾突然之間好似走進鏡畫，來到一個無限延伸的場域。