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比雅·博纳菲尼（Bea Bonafini, b.1990, 德国）是一位工作与生活在罗马的当代艺术家，她的作品媒介涉及绘画、雕塑、陶瓷、纺织及行为表演等领域。2014年她于伦敦斯莱德艺术学院本科毕业，并于2016年获得了皇家艺术学院的绘画硕士学位 比雅的作品围绕着神性和归属的概念，尝试使用一如编织毯等综合材料建立全新语境。同时，她也研究了如何将观者从心理上置于作品中心，质疑并打破艺术品的有形性和可触碰性，以及它可以构成新物质和神话的可能性。比雅的艺术实践是跨领域的，以纺织材料为核心的同时也使用了诸如软木橡树皮塞等特殊日常材料，以邀请观众进入她创造的语境中与自我对话并体验通灵瞬间。她的灵感来自于人与人之间的关系、宗教仪式过程以及感官和内心深处观念的冲突。 近期展览包括：《一个自己的世界（个展）》，Fieldworks画廊，伦敦，2017；《你的口香糖会失去风味吗？（在隔夜的床柱上）》, J Hammond Projects，伦敦，2017；《夏季蓝色》，荔枝一号画廊，伦敦，2016；《行为的存在》，科布画廊，伦敦，2015；ART15，艺术博览会，Bosse&Baum画廊的现场表演，伦敦，2015年；第十五届塞浦路斯当代舞蹈节（委托表演），塞浦路斯利马索尔，2015；Anthropophagi（与Paola De Ramos进行的两人协作表演），希腊街26号，伦敦，2013。Bea Bonafini (b.1990, Germany) is a contemporary artist, works and lives in Rome. The medium of her work includes painting, sculpture, ceramics, textiles and performance. She graduated from the Slade College of Art in 2014 and received a master's degree in painting from the Royal College of Art in 2016.Bonafini's work revolves around the conceptions of divinity and belonging, trying to establish new dialogues by using mixed materials such as carpets. Meanwhile, she also studied how to place the viewers psychologically in the center of work, questioning and breaking the tangibility and touchability of artwork, and the possibility that it could constitute new substances and myths.Bonafini's practice is cross-disciplinary, with textile materials as the core and special daily materials such as cork, etc., to invite the audience to enter the context of her creation to talk with themselves and experience instant psychic. Her inspiration comes from the relationships between people, the process of religious ceremonies, and the conflict of senses and deep minds.Selected recent exhibitions include: A World Of One’s Own (solo exhibition), Fieldworks Gallery, London, 2017; Does Your Chewing Gum Lose Its Flavour (On The Bedpost Overnight), J Hammond Projects, London , 2017; Summer Blue, Lychee One Gallery, London, 2016; The Behaviour of Being, Cob Gallery, London, 2015; ART15, Art fair, Live performance with Bosse and Baum Gallery, London, 2015; 15th Cypriot Contemporary Dance Festival (commissioned performance), Limassol, Cyprus, 2015; Anthropophagi (Duo collaborative show with Paola De Ramos), 26 Greek Street, London, 2013.⬇️ 向下翻动查看 ⬇️ 2016 Royal College of Art - MA Painting2014 Slade School of Fine Art, UCL - BA Fine Art2010 Chelsea College of Art & Design, UAL - Foundation in Art & Design Diploma2010 Salzburg International Summer Academy of Fine Art, Austria - Scholarship for Sculpture course by Italian artist Liliana Moro.2008 Salzburg International Summer Academy of Fine Art - Painting course by Chinese artist Li Songsong.(September) Operative Arte Contemporanea, Rome.Solo show, Chloe Salgado, Paris.Talk to the Hand. Solo show, Bosse & Baum, London.Bologna Art Fair. Solo booth, Renata Fabbri, Bologna.Ogni Pensiero Vola. Solo show. Renata Fabbri Gallery, Milan.Giotto’s Room. Two person show with Aisha Christison. Post_Institute Von Goetz, London. Curated by Lucy Von Goetz.Garageland. Two person show with Anne Ryan. The Rectory Projects, London. Shed Shreds. Solo show. Lychee One Gallery, London.Dovetail’s Nest. Solo show. Zabludowicz Collection, Invites, London.A World of One’s Own. Solo show. Fieldworkds Gallery, London.The Thicker the Woods, the Vaster the Vista, Nevven Gallery, Gothenburg.March Mostra, British School at Rome.Adieu to Old England the Kids Are Alright. Choi and Lager, Cologne. Dusseldorf Art Fair. Choi and Lager gallery, Dusseldorf.December Mostra, British School at Rome.Premio Cairo, Palazzo Reale, Milan.A Seed’s a Star, Loyal Gallery, Stockholm. Curated by Constance Tenvik.The Italian Open, Galerie Rolando Anselmi, Berlin.Generation Y, Platform Foundation X, London. Curated by Kate Bryan and Sara Terzi.Tender Touches, AMP Gallery, London. Curated by Open Space Contemporary.Subversive Stitch, TJ Boulting, London. Curated by Hannah Watson.London Art Fair, Union Gallery, London.FiBRA, Post_Institute Von Goetz, London.Premio Lissone, Lissone, Italy.Bone Memory, Lychee One, London.FEŸ Rencontres, Art Festival. Burgundy, France.Memories Arrested in Space, Italian Cultural Institute, London. Curated by ARTUNER(Two-person) Giotto’s Room, with Aisha Christison. Post_Institute, London. Curated by Lucy Von Goetz(Two-person) Garageland, with Anne Ryan. The Rectory Projects, London. Searching for Myself Through Remote Skins. Renata Fabbri, Milan. Curated by Bianca BaroniEt Refaire Le Monde. Galerie Bessieres, Chatou, Paris. Curated by Bianca Cerrina FeroniIf You Can Stand the Heat. Roaming Projects, London. Curated by Lindsey Mendick and Paloma Proudfoot40-40-40. Soho House London. Curated by Fenella BrownleeRipe. Kingsgate Project Space, London. Curated by Eleanor DaviesDik Piks. Ladybeck, Leeds UK. Curated by Suzy BabingtonLa Diablesse. Tramps Gallery, London. Curated by Jerusha West, Sarah Batey and Simone Kennedy-Doig.Does Your Chewing Gum Lose Its Flavour (On The Bedpost Over Night)? J Hammond Projects, London. Curated by Will Rees and Hamish Pearch Penelope. Curated by Alix Janta and Lauren Jones. 46 Gallery, London.Summer Blue. Lychee One Gallery, London. Curated by Jonathan Miles. Royal College of Art Graduate Show. London. At Home Salon: Double Acts. Marcelle Joseph Projects, Ascot. Curated by Lana Bountakidou. Paper, Publication, Performance. Lychee One Gallery, London. Curated by Jonathan Miles.The Behaviour of Being. Group exhibition from the Beekeeper’s Residency at Cob Gallery, curated by Mia Pfeifer. Two Hundred Acres. Group exhibition of RCA students. Pump House Gallery, London. Curated by Anna Clifford. Rift Banquet. Performance at AYA Peckham, London. Curated by Leo Cohen. ScreenSaver. Group Video Exhibtion and co-curation. Dyson Gallery, RCA. RCA Secret. Group Exhibition. Dyson Gallery. Royal College of Art. 15th Cypriot Contemporary Dance Festival. Commissioned the performance of In the Likeness Of… Rialto Theatre, Limassol, Cyprus. Exposiçao Lar. Group Exhibition curated by Paola De Ramos. Curitiba, Brazil. Resolutions!2015. The Place Theatre, London. Performance of In the Likeness Of…Persephone, Queen of the Underworld. E122 Banquet Performance. Cock 'N’ Bull Gallery, London.Arts Atrium, Twitter HQ. Group Exhibition organised by the London Sculpture Workshop. The Scars are Not Just Skin Deep, Group Exhibition curated by Mia Pfeifer. Cob Gallery, London.Slade School of Fine Art Degree Show. London.On/Off. Performance Event. Vibe Gallery, LondonSlade Print Fair. Group exhibition and performance. Slade Research Centre, London.Anthropophagi. Two-person exhibition with Paola De Ramos. 26 Greek Street, London. Tate Modern. Invitation by the Board Director of the UAL Development Council.St Martins School of Art & Design Degree Show. Collaboration with Cecilia Granara.Elegy. Guest Project Space. Group exhibition and performance. Curated by Leo Cohen.Camden Arts Center London. Performance Event organised by the Slade School of Fine Art.Bodies of Silence. Platform, London. Performance. Curated by Giulia Casalini and Diana Georgiou.The Strange Impression of Seeing Things. Group exhibition and performance. Mile End Art Pavilion, London.Camden Arts Centre, London. Performance Art Event organised by the Slade. Platform 1. Performance Art Event organised by the Slade. Bloomsbury Theatre, London.
Shape-Shifting. Pastel on wool and nylon carpet inlay, 1000 x 560 cm, in 5 interlocking sections, 2018.
比雅主要以两种模式创作，一种是独立的创作，另一种是针对特定地点的创作。对于后者，她希望艺术品能包裹着整个空间，以反映它的历史，成为建筑本身，而不是孤立的一件作品。她不同时期的地毯和挂毯系列体现了这两种创作方式，并不断挑战着我们对传统绘画，手工艺，图像和空间的固有理解。
As for her artistic practice, Bonafini works in two modes of production, one being independent and the other being completely site-specific. For the later, she wants the artwork to wrap around a room, to reflect on the history of the space, to become the architecture itself rather than being an isolated piece. Her tapestry works embodied both modes of creation and constantly challenge our intrinsic understanding of painting, crafts, imagery and space.
The Battle of Dovetail. Wool, polyamide and propylene carpets, 900 x 350 cm, 2017在英国文化中，地毯是必不可少的家庭元素。比雅希望用纺织品、挂毯和其他能够将观众投射到舒适空间的材料创造一个家庭式又神圣性的精神空间，观众可以在上面徘徊、思考和质疑他们与他人以及所居住空间的关系。这系列作品是用现成的地毯碎片经过剪裁和重新组装制成，并以行动绘画的手法(gestural painting) 将颜色扫过镶嵌质感的表面。通常，充满活力，细腻而柔和的色彩会引起观众强烈的情感共鸣，使他们更能够感受画面中描绘的相对残酷和矛盾的事物，例如暴力，疾病，战争，支离破碎的记忆等等。地毯系列色彩和叙述的冲突影射了家庭环境中往往并存的养育和冲突。 In British culture, carpet is an essential domestic feature. Bonafini wants to create a domestic yet spiritual space with her textile, carpets or any soft materials, where viewers can ponder on, contemplate, and question their relationships to others and spaces they inhabit. The artwork is constructed from segments of ready-made carpets, scissored and reassembled, with gestural painting sweeping over the inlayed textures. Often times, vibrant, delicate, and soothing colors of the carpets generate strong emotional responses from the viewer and allow them to be able to absorb things that are more difficult — the problematic, conflicting aspects of the work such as violence, illness, warfare, and fragmented memories suggested in the image. Just like in a domestic environment where nurture and conflict can coexist. 人形 / 穴怪图像 Anthropomorphous / Grotesque 比雅将传统与新的艺术创作联系起来的方法是将壁上平坦的绘画理念转变为具有多方面和多维度的作品。在她的“漂浮人”和“跳水者”系列作品中，人形地毯画被垂直并置在墙壁上或悬挂于天花板。这些作品的水平度意味着观众无法从远处看到完整的画面，而必须要走进或环绕才能看到细节和描绘的故事。这样的创作理念源自于她对增加艺术品与观众之间的生理和心理联系的兴趣和探索。 Inverting the idea of painting that is flat on the wall to something that has multi-facets and dimensions has always been Bonafini's approach in linking the traditional and new practices. In her “Floating Corpse” and “Diver” series, human formed carpets are hung vertically on the walls or from the ceilings. The horizontality of these images means that they can’t be seen in its entirety, but you have to walk around to see the details and imagery. She is interested in increasing the physical and psychological proximity between the artworks and viewers.
Looking Forbackward. Pastel on carpet inlay and wood, 2019
这些人形元素的灵感来自意大利南部帕埃斯图姆（Paestum）发掘的跳水者之墓的壁画，其历史可追溯至公元470年。而与古代关于死亡和极乐世界绘画中男权不同的是，比雅将她的主人公转变为了女性，从而增加了性别平等和自治的理念。 These anthropomorphous elements were inspired by the mural paintings in the Tomb of the Diver excavated in Paestum, Southern Italy, dated back to 470BC. Different from the masculinity and patriarchal nature of the ancient narrative of death and underworld, Bonafini changes her protagonist into female, adding a sense of gender equality and autonomy.Floating Corpse. Pastel on mixed carpet inlay and wood, 2018Tomb Diver. Pastel on mixed carpet inlay and wood, 2018 同样，古希腊神话和穴怪图像（grotesque）一直是比雅最喜欢的参考元素。例如，罗马尼禄黄金宫的壁画，或梵蒂冈装饰画的壁画，或奥维多大教堂正面墙的巨大浮雕雕塑，等等。看似离谱和畸形，它们通常能微妙而准确的探索我们精神世界的真相，并帮助我们了解自己所处的现实世界。在比雅的作品里，历史，建筑，古代神话中的生物允许她想表达的概念和物质形态得到平衡，且能在一个空间中肆意生长。她解释说：“怪诞的神怪图像仿佛生活在一种流动的过渡状态中：从人到动物，或者从动画到静态装饰。没什么是表面看起来那么简单，而且任何事物都被授予了可以任意转化为其他东西的能力。”
Likewise, ancient Greek Myths and Grotesque figures have always been Bonafini's favorite references. The Domus Aurea wall painting for example, or the decorative painting framing frescoes in the Vatican, or the monstrous relief sculptures on the facade of the Orvieto Cathedral, and so on. They are often the subtlest and most accurate tools we have to illuminate certain truths about our spiritual state of mind and help us make sense of the world we are in right now. History, architecture, mythical creatures in antiquity allow concept and formalism proliferate obsessively in one space. She explains: “Grotesque figures almost lives in a fluid transitional state: from human to animal, or from animate to ornamental. Nothing is what it seems and anything is granted the ability transform into something else.”
RIFT Banquet Performance, 2015“行为艺术是我进行协作并摆脱自我束缚的一种方式。在我正在进行的一系列“宴会表演”中，雕塑，表演和社交聚会在短暂的一天中碰撞。” 对于比雅而言，与她的艺术品互动的经历就像用餐体验一样至关重要。就像如果一个位置空了，一桌人将无法开始晚餐。邀请来访者通过亲密，有仪式感和共享的方式体验有趣、荒诞而与众不同的一场饮食盛宴。这个多学科的表演系列还涉及诸如生态可持续性，未开发资源，工艺品，戏剧化美学以及所有个人感知到的出乎意料的主题。
“Performances are a way for me to collaborate and to get out of my own head. In my ongoing series of Banquet Performances, sculpture, performance and social gathering collide in one ephemeral day.” To Bonafini, the experience of engaging with her artworks is paramount to the dining experience. You can’t start the dinner if one place is empty. Visitors are invited to engage with playful and absurd guidance of alternative ways of eating together through intimacy, ritual, and shared experience. This multi-disciplinary performance series also addresses themes like eco-sustainability, under-explored resources, craftsmanship, spectacular aesthetics, and all the unexpected. 
E120 Banquet Performance, 2015在另一个雕塑性的咖啡空间装置中，比雅接管了一个意识形态和功能性并存的空间，并且这些作品均以家具为基础。无论空间处于拥挤或空无一人的状态都很有趣。当不使用沙发或茶几时，它们变得更像是一种仅限观察的装置。它们一经使用，便开始突破界限，这就是开始发生不同动态的时候。社交性是比雅作品的关键要素，也是她对白色立方体空间内所谓“无菌性”观展准则的对抗，鼓励观众互动或舒适地消费艺术品。她说：“参与是必不可少的，哪怕只是简单的站着、坐着和感受着。” In another sculptural installation of coffee spaces, Bonafini took over a space that had an ideology and a function, and the works were furniture-based. It was interesting to have this space both in populated and void states. When the sofas or coffee tables weren’t in use, they became more like an installation to be observed. As soon they were used, it started breaking boundaries and that’s when different dynamics started happening. The social aspect of her work was Bonafini's way to counteract the sterility of the white cube space, where doesn't often encourage the social or comfortable consumption of the art. She says: 'The participation is essential, whether it is simply the act of standing on the work, sitting on it, or feeling it.
Bea Bonafini & EJRBarnes, The Empress, wood, vinyl, chrome plated steel and pastel on mixed carpet inlay, 111 x 82 x 76 cm, 2018Spring Bouquet. Jacuqard-knitted cashwool mounted on wooden coffee table, clay and pigment, ceramic coffee cups.
Lady Sofa. Hand stitched mixed textiles, salty dough pearls upholstered sofa. 150 x 100 x 90 cm. 2017这个展览主要收录了比雅新的面具系列。主题是对记忆和神秘具象又有叙述性的重新编排：对失去和崩溃的阐述。与怪诞面具中吐出的发丝或图像中缺失部分相比，失去带来的恐惧和孤独感更为强烈。像身体的过度生长失去了控制：挂毯向外生长进入画廊空间，头发从面部缝隙中渗出，肿块扰乱了睡眠面具的平静。The exhibition is a material and narrative reassembling of memory and mystery: an elaboration of loss, a falling apart. The loneliness that comes with loss is compared to falling locks of hair or missing sections of an image. The excessive growth of a body spiralling out of control: sections of the tapestries are growing outwards into the gallery space, where hair bursts from crevices, and lumps disturb sleeping faces.比雅的陶瓷，如剪刀、罗马人，使用了与挂毯相似的切割和组合工艺：尼里科米(nerikomi) ，一种日本制造玛瑙的技术。混合粘土、瓦肯石器和瓷器的大理石花纹，以及雕刻进一步扭曲了物体，釉料滑入裂缝。这些工具是基于古罗马的工艺传统，并参考织物剪刀用于大多数其他作品。奥维德《变形记》的著述和广泛的罗马展览都对该展览产生了重大影响。奥维德在重述著名的希腊神话时，将幽默、超现实主义、浪漫主义和悲剧融为一体。他笔下人物的转变常常让我们大吃一惊，突然颠覆了我们的预期。展览：与手交谈，重塑和改变了个人和古老的神话。Bonafini’s ceramics such as 'Scissors', 'Roman' use a similar process of cutting and combining as the tapestries: nerikomi, a Japanese technique used to make agateware. The marbling of mixed clays, vulcan stoneware and porcelain, and the carving further distorts the object, glazes slip into cracks. The tools are loosely based on ancient roman objects, and reference the fabric scissors used for most of the other works. Both the writings and the extensive Rome exhibition of Ovid’s Metamorphoses, heavily influences the show. In his retelling of the famous Greek myths, Ovid intermingles humour, surrealism, romance and tragedy. The transformations that happen to his characters frequently take us by surprise, abruptly disrupting our expectations. Talk to the Hand reinvents and transforms personal and ancient myths. © Bosse & Baum Installation view of exhibition Talk to the Hand. © Bosse & Baum荔枝一号｜Lychee One, London
2018.1.20 - 2018.3.4 Shed Shreds是比雅在伦敦荔枝一号画廊的个展。此次主要展出她关于战争，权利和破碎记忆的作品。比雅的作品是多层次的，由许多部分拼凑而成，邀请观者暂停和缓缓发掘这些片段中的叙述。一张扶手椅，铺着地毯状的纺织品，是一种对来访者的友善，产生共鸣的灵魂流浪者可以小憩一会儿。挂毯的柔和诱感，雕塑《王座II》的欢乐似飘带的形式以及战斗绘图系列的精致轻巧，都在晶莹剔透的表面之下不断变化。就像融化的熔岩在我们脚下深处搅动一样，我们在不知不觉中接近灾难时刻。Shed Shreds is Bonafini's 2018 solo show at Lychee One, London. It exhibited her works related to warfare, power, and fragmentation. Her works are layered, pieced together from shredded parts, and viewers are invited to pause and discover the narratives within these fragments. An armchair, covered in a pieced carpet tapestry, acts as a kindness offered to the spirit, in order that you, wanderer, could stay a while. The soft lure of the tapestries, joyful streamer-like forms embodying the sculpture Throne II and the delicate lightness of the Battle drawing series belie something shifting just under the crystalline surface. Like molten lava churning deep beneath our feet, we unknowingly tread close to the moment of catastrophe. Installation view of exhibition Shed Shreds. © Lychee One ▼ Q：关于你的代表作，毯类作品，可以详述一下整个系列的创作概念和过程吗？ Regarding your representative work and carpet works, could you elaborate on the concept and process of this series? A：我的作品主要分为三类，即「独立作品」、「特定场地作品」和「策展作品」。毯类作品主要存在于第一和第二类，独立作品是像陶瓷面具一类的个体创作，特定场地作品则更多是指对比如设计师家具或历史、宗教建筑的“再设计”。地毯在展览空间中可以被用来更改地面原本样貌，也可以保留它作为一件作品的特殊形状以嵌入的方式增加墙面等空间物理属性的丰富度（如，Divers, 2018）。这些原材料我都会回收再利用，平时也会从当地的地毯商铺收集一些有意思的边角料，我想源于生活的材料本身就具有温度和记忆，用这些情愫去改变“白立方（展览空间）”或许更适宜去创造一个能够让人们静下心细细咀嚼艺术的物理环境和精神语境。
My works are mainly divided into three categories, namely 'Independent works', 'Site-Specific works' and 'Curatorial works'. Carpet mainly exists in the first and second categories. Independent works are individual works like ceramic masks, whereas site-specific works might involve 'redesigning' designer furniture or chapel spaces. The carpet can be used to change the original appearance of the floor in the exhibition space, also can retain its special shape as a piece of work to embed the richness of the physical properties of the wall and other spaces (e.g. Divers, 2018). I recycle and reuse these raw materials. I usually collect some interesting scraps from the local carpet shops. I think materials derived from life have temperature and memory, and I’m keen on using these feelings to change the 'white cube (exhibition space)'. It is more suitable to create a physical environment and spiritual context that allows people to calm down and chew art carefully.Q：选择成为艺术家，并以作品维持生计是一件在常人看来非常冒险的事，因此我们很好奇，支持你坚持的信念和动力是什么？ Deciding to become an artist and maintain a livelihood with artworks is a very risky thing for ordinary people, so we are curious: What are the beliefs and motivations that support your adherence?A：老实说，这确实是一项需要勇气的决定。但我一直都坚信，艺术具有独特的精神能量，能够帮助每个人找到他们自己的“语言”。在常识外的知识通常需要想象力去延展，这部分工作其实艺术就可以做得到，但我也非常好奇，超越想象的部分还能够是什么样的。因此我想要追寻这个“好奇点”去寻找答案，并在过程中带给人们想象的能力。
To be honest, this is indeed a decision that requires courage. But I have always believed that art has unique spiritual power and can help everyone find their own 'language'. Knowledge beyond common sense usually requires imagination to extend. This part of the work can actually be done by art, but I am also very curious about what the beyond imagination can look like. So I want to pursue this 'curiosity' to find the answer and enable people to imagine in the process.Q：你会怎样看待“疫情后时代”这一命题？同时有什么想要分享给中国观众的吗？ What do you think of the proposition 'Post-COVID' era? Also, is there anything you want to share with the Chinese audience? A：我觉得所谓的“当代艺术”是一个现象，“疫情后时代”也许是现象中的一环。目前欧洲艺术全面复苏，疫情似乎没有改变什么，但还是让我们拭目以待吧。中国有很好的艺术底蕴，也有能力建立当代艺术景象，异国观众若有兴趣了解和进入这个“世界”，我的建议是可以从了解当代年青艺术家出发，运用“当代科技”的加持，从各类社交平台关注和接触他们的作品及日常。
I think the so-called 'contemporary art' is actually a phenomenon, and the 'Post-COVID' may be part of this phenomenon. At present, European art is fully recovering, and the epidemic seems haven’t change anything, but let us wait and see. China has a very good artistic background and the ability to establish its contemporary art scene. If audiences are interested in entering this 'world', my suggestion would be: Start from understanding those contemporary young artists and use the blessings of 'contemporary technology' from various perspectives, such as follow their Instagrams and personal website and try to know more about their works and lives.编译 / Jessica 统筹 / Roxy 添加 “外食小助手”加入加餐群与直播群
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