书名：Jean Dubuffet e Venezia / 让?杜布菲与威尼斯

作者：Sophie Webel, Frédéric Jaeger

出版：5 Continents，2019年

装帧：精装，72页

语种：英文，意大利文

尺寸：25*22.5 cm

让·杜布菲与威尼斯之间的深厚渊源可追溯至往昔。这座城市曾举办过两场标志其艺术生涯关键阶段的著名展览——1964年在格拉西宫举办的个展，以及1984年威尼斯双年展法国馆的展览，这绝非偶然。这两次展览的展陈方案皆由艺术家亲自选定，旨在首次公开展示其最新力作。

这本精美图录的出版，与在弗兰凯蒂宫举办的同名展览同步进行。这座15世纪的华美宫殿直接俯瞰大运河，而图录的诞生得益于杜布菲基金会与运营该展馆的ACP公司的卓有成效的合作。展览聚焦艺术家创作中最重要的三个系列，书中均配以丰富插图：其一是1950年代的《土地的礼赞》系列，艺术家通过《物质学》与《纹理学》探索土壤材质的无限表现力；其二是1962至1974年间的《乌尔卢普》系列，该系列于1964年在格拉西宫首展，正如丹尼尔·阿巴迪所言，堪称"贯通杜布菲艺术前后脉络的真正源泉"，其名"Hourloupe"源自法语"entourloupe"（意为戏法），通过奔放不羁的笔触构建平行世界以触及现实本质；其三是1980年代的《基准》系列，流动的明艳笔触拓展了画面的物理边界。

这部雅致的图录收录了大量素描、水粉画及照片、信件、艺术家文章等文献资料，为读者全面展现杜布菲大胆的艺术实验，堪称值得珍藏的学术文献。

The roots of the strong link between Jean Dubuffet and Venice lie in the past. It is no accident that the city has hosted two famous exhibitions that marked crucial stages in the artist’s career: one held in Palazzo Grassi in 1964 and another in the French pavilion at the 1984 Biennale. In both cases, the artist himself chose the setting in which he wanted his latest work to be shown for the very first time.

This elegant book, published to coincide with the exhibition of the same title being held in Palazzo Franchetti, a splendid fifteenth-century palazzo directly overlooking the Grand Canal, is the result of an invaluable and fruitful collaboration between the Dubuffet Foundation and ACP, the company that runs the exhibition site.

The exhibition covers the three most important cycles in the artist’s oeuvre, each copiously illustrated in the book. The first is the Célébration du solseries from the 1950s, in which the artist explores the infinite effects of the material of which the earth is composed, which includes his Matériologies and Texturologies. The L’Hourloupe series, the true wellspring of Dubuffet’s art, which “makes sense of what came before and was to come after,” as Daniel Abadie has written, covers the years 1962 to 1974 and was first presented at the Palazzo Grassi exhibition in 1964. This is a very busy, almost riotous art, as the very term “Hourloupe” (from the French entourloupe, a trick) suggests, which aims to create an alternative world that is able to dig down to the core of reality. The last cycle is the Mires series dating from the 1980s, which is made up of paintings displaying flowing, brightly coloured brushwork that extends the physical boundaries of the work.

There is every reason to suppose this slender book will become a collector’s piece, containing as it does an array of drawings, gouaches, and other material, such as photographs, letters, and articles by Dubuffet, thus providing the reader with a full perspective on the artist’s daring experiments.