展覽名稱：萬化之相——文德繪畫作品展

展覽開幕：2022年12月10日（周六）下午15:00

展覽時間：2022年12月10日 - 2023年1月8日

展覽地點：ICI LABAS 藝棧，798東街藝術(shù)區(qū) 

我的鏡子2 Mon Miroir-2

萬 化 之 相

胡昌煢

我們非常高興為大家?guī)矸姨m學(xué)者Fred Dervin的畫展KASVOT萬化之相。在芬蘭語中，KASVOT是復(fù)數(shù)名詞，表意為臉，它是Fred本次展覽的核心內(nèi)容，是他對個人隨時間、場域、環(huán)境變換所帶來的身份轉(zhuǎn)換及其所呈現(xiàn)出的面相的芬蘭式表達。

藏在月亮下的羞澀-Shamefully-hiding-from-the-moon

1953年，設(shè)計師Vuokko Eskolin-Nurmasniemi在Armi Ratia創(chuàng)立于1951年的芬蘭設(shè)計品牌Marimekko的工作中設(shè)計出了一款手繪圖案條紋面料：Piccolo。這種條紋元素被Fred Dervin認(rèn)為是個體身份復(fù)雜性、包容性、多樣性與多變性的視覺象征而加以運用。Marimekko品牌的另一重要設(shè)計元素為綻放的巨大花朵，其靈感來源或可從1913年在巴黎首演的伊戈爾·斯特拉文斯基（Igor Stravinsky）的芭蕾舞劇《春之祭（The Rite of Spring）》中找到線索，F(xiàn)red 認(rèn)為這部偉大作品中那些尖銳、緊張和突如其來的音響，表達出了北半球寒帶地區(qū)的自然從冰雪之下展露頭腳到春天到來時的狂野和人群的爆炸性喜悅。Fred畫面中臉部背后的各種色點、螺旋線即被賦予了類似的內(nèi)在認(rèn)知活動與身份轉(zhuǎn)化的意象。

春之祭3-Rite-of-Spring-3

飛馳的鋼琴-Le-piano-gallopant

Fred Dervin的祖輩來自歐洲四個不同的民族，強勢的有德國血統(tǒng)的媽媽主導(dǎo)他從6歲起即接受嚴(yán)格的精英教育，在6—16歲的少年期，F(xiàn)red每在學(xué)校學(xué)習(xí)六個月可回家待上兩周，這塑造了他對于知識狂熱渴望的性格與對于感情獨立與依賴的矛盾情緒。他常常以法國作家居斯塔夫·福樓拜（Gustave Flaubert）所著的《布瓦爾與佩杜歇》（Bouvard et Pécuchet）中的布瓦爾，以及源自意大利喜劇并成為20世紀(jì)初法國戲劇界核心人物的小丑皮埃羅（Pierrot）自比。或許很少有人知道宗教在芬蘭扮演著很重要的角色，盡管Fred聲稱當(dāng)時的宗教教育對于他是乏味的，但他卻始終抱持著對陀思妥耶夫斯基（Dostoyevsky）在《白癡（The Idiot）》中塑造的梅什金公爵（Prince Myshkin）的道德認(rèn)同。他們都有點天真而幼稚，有一點愚蠢。

看著我2-Look-at-me-2

你是哪里人？3-Where-are-your-from-3

Fred旅居于世界各地，教授跨文化領(lǐng)域的知識，并在這種跨文化的背景中對身份問題進行持續(xù)的追問。即將步入知天命之年的 Fred 與中國學(xué)者合作多年。每次訪問中國，他每天都會去郵局給他在芬蘭的祖母寄一張明信片——這是純真和愛的象征，或者某種程度上可以與宗教的救贖感相媲美。展出的畫作從2020年到2022年，邀請觀眾進入一個令人困惑但永無止盡的身份之旅。

條紋男孩3-Stripes-3

KASVOTA 

Journey Through Ten Thousand Faces

HuChangqiong

It is a pleasure to introduce Finland scholar Fred Dervin’s exhibition KASVOT – A Journey Through Ten Thousand Faces. KASVOT, a plural noun in the Finnish language, means face, and it is at the heart of Fred’s exhibition. The use of the Finnish word hints at the temporal, spatial and ecological transformations of our identity, symbolized by the complexity of our faces.

我的鏡子6 Mon Miroir-6

我們之間的聲音1-Voices-between-us-1

In 1953, designer Vuokko Eskolin-Nurmasniemi produced the hand-drawn Piccolo striped fabric for the Finnish Design House Marimekko founded in 1951 by Armi Ratia. This stripe element is considered by Fred Dervin to be a visual symbol of the complexity, inclusivity, diversity and variability of individual identities. Another iconic design element of the Marimekko brand is large blooming (poppy) flowers, which could have been inspired by the loud, tense and abrupt sound of Igor Stravinsky’s ballet The Rite of Spring, which premiered in Paris in 1913. For Fred, this great piece of music articulates well the wild nature of the northern hemisphere when snow and ice leave the floor to the wildness and explosive joy of the crowds at the arrival of spring. The variety of colorful dots and spirals accompanying Fred’s faces in the art pieces are endowed with a similar imagery of internal mental activities and identity transformations.

紫竹院2-Bamboo-Park-2

紫竹院4-Bamboo-Park-4

Fred Dervin’s diverse cultural heritage from four European countries, and his strong mother of German descent, led him to receive a strict elite education from the age of 6. As an adolescent, Fred was allowed to return home every six months, just for two weeks, which shaped his insatiable thirst for knowledge and his ambivalence about emotional in-/dependence. Until today he has often returned to the French writer Gustave Flaubert’s Bouvard and Pécuchet for inspiration. In a similar vein, he has often found solace in the figure of Pierrot, the clown who originated in Italian Commedia Dell’Arte and became a central figure in French theater in the early 20th century. Few people may know that religion plays an important role in Finland, and although Fred claims that religious education was uninspiring to him, morally, he has identified with Dostoyevsky’s Prince Myshkin in The Idiot. Bouvard and Pécuchet, Pierrot and Myshkin are all a little na?ve, childish and foolish.

要快樂-3-Be-happy-3

自然與我3-La-Nature-et-Moi-3

Fred has lived in different countries, teaching and researching interculturality, constantly questioning identities. Fred, who will soon be in the youth of old age, has cooperated with Chinese scholars for many years. Every time he visits China, he will go to the post office every day to send a postcard to his grandmother in Finland – another symbol of innocence and love or a redemptive feeling somehow comparable to religion. The paintings on display are from 2020 to 2022 and invite the viewer to a confusing and yet never-ending journey through identity.

文德照片

BIODATA  

A renowned scholar in the field of intercultural communication and education, Fred Dervin (Chinese name: 文德 Wende) is also an artist. He holds two PhDs (Sorbonne University in Paris and University of Turku, Finland), is a full professor and PhD supervisor at the University of Helsinki, Finland. Dervin also holds several distinguished and visiting professorships in Australia, Canada, China, Luxembourg, Malaysia and Sweden, as well as in other Finnish universities. Dervin has published internationally on questions of identity, interculturality and mobility/migration (over 150 articles and 80 books). His interest in art began when he was a teenager and has continued to grow over the decades. Since the early 2010s, he has produced artworks in Finland and China to showcase his scientific ideas. His commitment to the arts has also influenced his personal research (e.g. the benefits of arts education for intercultural communication). For decades he has collected and specialized in Finnish art from the mid-20th century and since 2015 he has been actively involved in producing his own art in relation to his research work. In his 2022 book entitled Interculturality in Fragments: A Reflexive Approach (Springer), he included 10 of his works of art to stimulate his readers to think beyond words about intercultural communication and education. He is just about to publish a book on art and interculturality in education (Palgrave Macmillan, 2023).

Dervin is interested in the complexity of depicting faces in his art by using different techniques. Interestingly, the Finnish word ‘face’, ‘kasvot’, always appears in the plural, which piqued his curiosity about the human face. This interest also comes from his scientific research on identity and intercultural communication, as well as his experience of living in different parts of the world.

自畫像-飾-皮埃羅1-Self-portrait-as-Pierrot-1

藝術(shù)家簡介

文德是世界跨文化教育領(lǐng)域的知名學(xué)者，同時還是一位優(yōu)秀的藝術(shù)家。他擁有法國索邦大學(xué)和芬蘭圖爾庫大學(xué)兩所世界知名古老院校的博士學(xué)位。現(xiàn)擔(dān)任芬蘭赫爾辛基大學(xué)的終身教授及博士生導(dǎo)師，同時還在世界各地高校擔(dān)任榮譽教授和客座教授。他發(fā)表了150多篇學(xué)術(shù)論文和80余部學(xué)術(shù)專著，探討關(guān)于身份、跨文化交流與教育、人口流動與移民等社會問題。他對藝術(shù)的興趣始于青少年時期，經(jīng)過多年的積累形成了自己獨特的藝術(shù)風(fēng)格。在過去的十幾年中，他在中國與芬蘭這兩個他熱愛的土地上創(chuàng)作了許多帶有鮮明個人特色的作品。同時，他將藝術(shù)創(chuàng)作與個人學(xué)術(shù)研究相結(jié)合，并放入個人著作中，以幫助讀者更好地理解和思考研究背后的故事和意義。特別是近一年間，他對面孔和鏡子進行了細(xì)致地觀察和理解，并創(chuàng)作了許多有內(nèi)涵和想象力的創(chuàng)作，一部分作品將會出現(xiàn)在他明年的著作中。