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巴黎之夜 Paris by Night

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巴黎之夜 Paris by Night 巴黎之夜 Paris by Night 作為現代城市，巴黎體現了第一個超現實主義的神話， 她是超現實主義詩歌、畫作以及照片中的夢幻化身。那 些小巷接通巴黎大街及超現實主義的發源地——塞赫塔 咖啡館，她們被形容為「連接夢與現實的道路」。巴黎 的黑夜最能轉化超現實主義的意象。這個展區的大部分 照片都是布拉賽的作品，他透過鏡頭將巴黎夜景化為人 類情感的劇場。 As a modern city, Paris embodied the first Surrealist myth, transformed into fantasy in Surrealist poems, paintings and photographs. The covered passages in Paris that link the boulevards with the Café Certa — the birthplace of Surrealism — were described as being “midway between dream and reality”. Nighttime was a particularly privileged state of the Surrealist transformation of the city. In this section, a large portion of photographs was taken by the artist Brassaï, who tried to turn nighttime Paris into a theatre of human passions. AM 2003-5 (3) © Estate Brassaï - RMN-Grand Palais © Centre Pompidou, MNAM-CCI / Adam Rzepka / Dist.RMN-GP 布拉賽（1899 – 1984） Brassaï (1899 – 1984) 皇家宮殿拱廊 Passage of Royal Palace 約 1932 ca. 1932 明膠銀鹽照片 Gelatin silver photograph 23.5 x 29.5 厘米 23.5 x 29.5 cm 由 Gilberte Brassaï 女士 Donated by Mrs. Gilberte Brassaï in 2002 於 2002 年捐贈 Collection Centre Pompidou, Paris 巴黎龐比度中心—— Musée national d’art moderne - Centre de création industrielle 國家現代藝術博物館藏 布拉賽（1899 – 1984） 羅浮宮博物館 約 1936 – 1937 明膠銀鹽照片 16.5 x 22.5 厘米 由 Gilberte Brassaï 女士於 2002 年捐贈 巴黎龐比度中心—— 國家現代藝術博物館藏 Brassaï (1899 – 1984) The Louvre Museum ca. 1936 – 1937 Gelatin silver photograph 16.5 x 22.5 cm Donated by Mrs. Gilberte Brassaï in 2002 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle AM 2003-5 (25) © Estate Brassaï - RMN-Grand Palais © Centre Pompidou, MNAM-CCI / Adam Rzepka / Dist.RMN-GP 黃金年代 The Golden Age 黃金年代是個豐裕快樂、永遠美好的年代。它最初出現 於公元前八世紀，由與荷馬同期的希臘詩人赫西俄德所 描述。導演路易斯．布紐爾以黃金年代的神話為題開拍 電影，藉此委婉地批評自身的年代，以及西方世界日漸 衰落的價值觀。安德烈．布勒東曾遊覽新墨西哥州，跟 印第安的霍皮族見面，並置身於充滿神話氣息的文化之 中，由此重新發現了一個黃金年代。他曾撰寫《傅立葉 頌》一書，歌頌這名法國烏托邦思想家，並浸沉在烏托 邦社會學家所想像的政治黃金年代之中。 The Golden Age was the time of plenty, happiness and eternal return, and was first described by the Greek author Hesiod who lived at the time of Homer in the 8th century BC. The filmmaker Luis Buñuel decided to use the myth of the Golden Age for a film, using it as a euphemism to denounce his own time and the declining values of the western world. André Breton rediscovered the Golden Age when he travelled to New Mexico to meet the Hopi Indian tribes, a culture that was steeped in the time of myths. He wrote an homage Ode to Charles Fourier to French utopian thinker Fourier and immersed himself in his own daydreaming about the Golden Age of politics as imagined by the utopian socialist. AM 2002-287 © Salvador Dalí, Fundació Gala-Salvador Dalí / Adagp, Paris © Centre Pompidou, MNAM-CCI / Jean-Claude Planchet / Dist.RMN-GP 薩爾瓦多．達利（1904 – 1989） Salvador Dalí (1904 – 1989) 威廉．泰爾 William Tell 1930 1930 油彩與拼貼布本 Oil and collage on canvas 113 x 87 厘米 113 x 87 cm 2002 年在遺產基金支持下進行購藏 Purchased with the help of the Heritage Fund in 2002 巴黎龐比度中心—— Collection Centre Pompidou, Paris 國家現代藝術博物館藏 Musée national d’art moderne - Centre de création industrielle 喬治歐．德．基里訶（1888 – 1978） 兩個人像 約 1920 油彩布本 55 x 46 厘米 1955 年 Maurice Meunier 先生遺產 巴黎龐比度中心——國家現代藝術博物館藏 Giorgio de Chirico (1888 – 1978) Two Figures ca. 1920 Oil on canvas 55 x 46 cm Legacy of Mr. Maurice Meunier in 1955 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle AM 3295 P © Adagp, Paris © Centre Pompidou, MNAM-CCI / Bertrand Prévost / Dist.RMN-GP 奇美拉 Chimera 身為大地女神蓋婭的後裔，奇美拉是一隻來自泰坦時 期，具有獅子頭、山羊身和蛇尾巴的怪物。當時的世界 紛亂無序，從未為理性所平定。 超現實主義者對理性力量的否定，加強了奇美拉神話在 他們想像中作為圖騰的意義。奇美拉代表一切生命的起 源，有些超現實主義藝術家，如伊夫．坦基和維克多． 布羅納把她描繪為「母親」。她與大自然之間的緊密關 係，跟超現實主義者借鑒於德國浪漫主義的泛神論非常 相似。在這個展區中，馬克斯．恩斯特於 1928 年繪畫 的《奇美拉》為安德烈．布勒東提供了參考形象。她的 形態具體呈現了超現實主義藝術的特質，展現以拼湊的 手法創作文字和藝術的形式。 As the offspring of Gaia, the Earth Goddess, Chimera is a monster with a lion’s head, a goat’s body and a snake’s tail that belongs to the age of Titans, a world that predates the reign of reason, and has never been ordered nor has it ever been AM 1983-47 © Adagp, Paris © Centre Pompidou, MNAM-CCI / Georges Meguerditchian / Dist.RMN-GP balanced by reason. Distrusting the power of reason, the myth of Chimera reinforces its totemic significance in the Surrealist imagination. It represents the origin of all life forms, which Surrealists like Yves Tanguy and Victor Brauner would depict as “the Mother”. Its close connection with nature shares many visions with pantheism which Surrealists borrowed from the German Romantics. In this section, Chimera painted by Max Ernst in 1928 is a direct reference for André Breton - a shape that contains the nature of Surrealist art and testifies to all literacy 馬克斯．恩斯特（1891 – 1976） Max Ernst (1891 – 1976) and artistic forms derived from the collage. 奇美拉 Chimera 1928 1928 油彩布本 Oil on canvas 114 x 145.8 厘米 114 x 145.8 cm 1983 年購入 Purchased in 1983 巴黎龐比度中心—— Collection Centre Pompidou, Paris 國家現代藝術博物館藏 Musée national d’art moderne - Centre de création industrielle 牛頭怪 Minotaur 帕西菲是米諾斯國王的妻子，她與一頭白色的公牛交 合，誕下了牛頭怪，而這牛頭怪被禁錮在迷宮之中。迷 宮除了指涉結構複雜的建築，更是一個符號，象徵由情 感和激情主導、能引起非理性的衝動思想。牛頭怪是 超現實主義的象徵，也順理成章地成為超現實主義雜 誌《牛頭怪》的標徽。這本評論雜誌於 1933 年由瑞士出 版商阿爾伯特．斯基拉、安德烈．布勒東和喬治．巴代 伊出版。巴勃羅．畢加索為第一期的《牛頭怪》設計封 面，其他超現實主義藝術家亦相繼跟隨，創作帶有牛頭 的怪物。 Born from the union of Pasiphae, the wife of King Minos, and a white bull, the Minotaur is locked up within the confines of a labyrinth. Beyond the complex building it refers to, the labyrinth has become the symbol of thought open to irrational 安德烈．馬松（1896 – 1987） impulses under the strength of emotion and passion. The 迷宮 Minotaur became an emblem of Surrealism and served as a 1938 logo of the Surrealist-oriented magazine Minotaure, published 油彩布本 by the Swiss publisher Albert Skira, André Breton and George 120 x 61 厘米 Bataille in 1933. Pablo Picasso designed the first cover of the 1982 年由 Basil 及 new Minotaure review and all the artists of the movement Elise Goulandris 捐贈 followed and sketched their own monster with a bull’s head. 巴黎龐比度中心—— 國家現代藝術博物館藏 André Masson (1896 – 1987) The Labyrinth 1938 Oil on canvas 120 x 61 cm Donated by Basil and Elise Goulandris in 1982 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle AM 1982-46 © Adagp, Paris © Centre Pompidou, MNAM-CCI / Philippe Migeat / Dist.RMN-GP 法蘭西斯．畢卡比亞（1879 – 1953） 金牛犢的崇拜 1941 – 1942 油彩布本 106 x 76.2 厘米 2007 年在遺產基金、Clarence Westbury Foundation 及國家現代美術館之友協助下購入 巴黎龐比度中心——國家現代藝術博物館藏 Francis Picabia (1879 – 1953) The Adoration of the Calf 1941 – 1942 Oil on canvas 106 x 76.2 cm Purchased with the assistance of the Heritage Fund, the Clarence Westbury Foundation and the Society of Friends of the National Museum of Modern Art in 2007 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle AM 2007-198 © Adagp, Paris © Centre Pompidou, MNAM-CCI / Philippe Migeat / Dist.RMN-GP 胡安．米羅（1893 – 1983） 鬥牛 1945 年 10 月 8 日 油彩布本 114 x 144 厘米 1947 年由藝術家與 Pierre Loeb 捐贈 巴黎龐比度中心—— 國家現代藝術博物館藏 Joan Miró (1893 – 1983) The Bull Fight 8 October, 1945 Oil on canvas 114 x 144 cm Donated by the artist and Pierre Loeb in 1947 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle AM 2763 P © Adagp, Paris © Centre Pompidou, MNAM-CCI / Philippe Migeat / Dist.RMN-GP 無頭者 Acephale 1929 年，隨著超現實主義運動陷入危機，喬治．巴代伊 成為了超現實主義異見者的領軍人。他創辦了《檔案》 評論雜誌，從民族學的角度研究原始社會，以及研究神 話的角色如何凝聚部族的組織。1937 年，巴代伊進一步 創作全新的超現實主義神話——阿塞法勒（或稱「無頭 者」），以沒有頭顱的形象，代表一種反對理想主義的哲 學和一種從理性解脫的人性。法國畫家安德烈．馬松所 繪畫的無頭者，正是想體現出巴代伊所提出的觀點。暴 力與情色成為馬松作品的主題，他以啟發自超現實主義 的概念描繪個人對希臘神話人物帕西菲的詮釋。漢斯． 貝爾默創作一系列具有爭議性的玩偶相片，進一步以圖 像明確地轉化巴代伊提出的理論和當中的情緒。 George Bataille became the champion of the Surrealist dissidents following the crisis of the movement in 1929 and launched the literary review Documents, which included ethnological research of primitive societies, discussing the role of myth in the organisation and the cohesion of the tribe. In 1937, Bataille was further encouraged to create the first genuinely Surrealist myth — Acephale, the headless figure, represents humanity that has been freed from the tyranny of reason. The French painter André Masson painted Acephale and endowed the figure in accordance with Bataille’s vision. Violence and eroticism became the themes of Masson’s work, AM 1992-359 © Succession Alberto Giacometti (Giacometti Foundation, Paris and Adagp, Paris) © Centre Pompidou, MNAM-CCI / Philippe Migeat / Dist.RMN-GP which could also be found in his interpretation of the Greek myth of Pasiphae, depicted with Surrealist-inspired concepts. 阿爾伯托．賈克梅第（1901 – 1966） Alberto Giacometti (1901 – 1966) Hans Bellmer’s controversial photographs of dolls further 切開喉嚨的女人 Woman with Her Throat Cut explicitly transposed the mood of Bataille’s ideas into images. 1932 / 1940 1932 / 1940 青銅、金葉 Bronze, gold leaf 21.5 x 82.5 x 55 厘米 21.5 x 82.5 x 55 cm 1992 年 Fonds du Patrimoine Purchased with the participation of Fonds du Patrimoine in 1992 參與購入 Collection Centre Pompidou, Paris 巴黎龐比度中心—— Musée national d’art moderne - Centre de création industrielle 國家現代藝術博物館藏 賀內．馬格利特（1898 – 1967） 強暴 1945 油彩布本 65.3 x 50.4 厘米 1987 年 Georgette Magritte 女士遺產 巴黎龐比度中心——國家現代藝術博物館藏 René Magritte (1898 – 1967) The Rape 1945 Oil on canvas 65.3 x 50.4 cm Legacy of Mrs. Georgette Magritte in 1987 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle AM 1987-1097 © Adagp, Paris © Centre Pompidou, MNAM-CCI / Philippe Migeat / Dist.RMN-GP 「超現實主義的最初文本」： 流亡中的超現實主義者 First Papers of Surrealism: the Surrealists in Exile 超現實主義的成員在戰時流亡美國，並決心建構神話。 美國藝術家是 20 世紀早期先鋒派的傳承者，他們希冀徹 底地改變文化價值，以此喚起全國的關注。他們一直矢 志尋求自身有別於歐洲模式的文化聲音，有些畫家並取 材於印第安神話，例如創作《月女切圓》的傑克遜．波洛 克，他們以「神話製造者」自居，開始尋求新的形式和共 同主題。 The wartime exile of Surrealist members in America marked a significant affirmation of the mythological ambition. As the heirs to the early 20th century avant-garde movement, American artists nurtured the ambition to radically alter cultural values with a touch of national awareness.
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