卓納畫廊於香港空間呈現美國藝術家斯科特·卡恩的展覽「藍月難逢」，這組風景作品繪畫聚焦不同類型的月相，比如滿月等及其蘊含的豐富內涵，還有早期卡恩描繪英國鄉村的風景畫。這次他在亞洲的首展，展現了他對風景這一門類的獨特處理方式。

David Zwirner is pleased to present an exhibition by American artist Scott Kahn at the gallery’s Hong Kong location. Once in a Blue Moon will feature a body of new paintings that focuses on different types of full moons—with its myriad connotations. Also on view will be a selection of landscapes from throughout Kahn’s career. This will be Kahn’s first solo presentation in Asia. Viewed together, these works exemplify the artist’s distinctive approach to the genre.

Why it matters:

根植於自己的日常生活與經歷，卡恩創作的謎團般的風景、肖像和夢境之景雜糅著現實與超現實的元素。五十多年來，他一直致力於具象的表達方式，運用獨特的形式語言，細膩而詩意地渲染著他周遭那個壯美與庸常共存的世界。他依據精確的幾何以及色彩和空間關係細緻入微地建構畫面；採用的透視和光線則營造出一種極具縱深的視覺效果，由此凸顯了反覆出現的人物、地點、象徵所產生的共鳴。卡恩的作品體現了他獨特的個人觀點，同時拓展著普世的主題，為觀眾提供了一個以獲得開闊情感的渠道。

Rooted in his everyday life and experiences, Kahn’s enigmatic landscapes, portraits, and dreamscapes blend real and surreal elements. The artist has remained committed to a figurative mode of expression over the course of more than five decades, using a distinctive formal language to achieve a nuanced and poetic rendition of the simultaneous splendor and mundanity of the world around him. His surfaces are meticulously constructed according to precise geometries and chromatic and spatial relationships, wherein the artist employs perspective and light to establish an illusory sense of depth that underscores the resonances imparted by the recurring cast of people, places, and symbols. Kahn’s works evidence his individual point of view while opening out onto universal themes, offering viewers a conduit through which to access a wide range of emotions.

4 Highlights:

• 展覽標題出自一幅創作於2023年的繪畫《藍月》，該詞起源於十六世紀時「月亮是藍色的」一說法，卡恩巧妙地發揮了這句話的色彩含義，所呈現的月球景觀近乎生活體驗的摹寫副本，但畫面又被電光般的色彩或是幽靈般的陰影所貫穿，將觀眾拉入另一重境界。兩幅相關聯的小尺幅作品《藍月II》和《女貞樹籬後的日落》， 放大了《藍月》中的元素，並對其進行了細緻的改造。

• The exhibition takes its title from a 2023 painting, Blue Moon, that features the silvery orb of the full moon seemingly in the midst of merging with its blue-toned doppelgänger. As a lunar phenomenon, a blue moon refers to the occurrence of two full moons in one calendar month, an event that comes around every two to three years, though the term itself originated from the sixteenth-century expression “The moon is blue,” meant to convey something so outlandish as to be impossible. In his new works, Kahn cannily plays with the chromatic implications of this phrase, presenting moonscapes that unfold as near facsimiles of lived experience but that are shot through with electric color or ghostly shadows that pull the viewer into another realm. A pair of related small-scale compositions, Blue Moon II and Sunset Behind the Privet Hedge, seem to zoom in on elements of the larger Blue Moon painting, carefully reworking them in order to tease out new formal possibilities and thus evoke distinct responses.

• 作品《狼月》(2023)中，卡恩將畫布大致地一分為二，創造出兩幅相互關聯但又各自獨立的構圖。在創作於十年前的作品《春月》(2013)中，卡恩以不同的方式構想空間，畫中描繪了一輪被雲層遮蔽的遙遠月亮。卡恩讓觀眾透過樹叢中的空隙瞥見月亮，並利用對稱的構圖在平坦的畫面上營造出一種廣闊的、 漸退的縱深感，使月亮既不祥地存在，又遙不可及。

• In another recent work, Wolf Moon (2023), Kahn divides the canvas roughly in half, essentially creating two interlocking but independent compositions that each inform the other in turn. Kahn conceptualizes space in a different way in the painting Spring Moon, made a decade earlier in 2013, which features a faraway moon veiled by cloud cover. Glimpsed through a clearing in a thicket of trees, Kahn utilizes a symmetrical composition to build a sensation of vast and receding depth across the flat picture plane, casting the orb as both ominously present and just out of reach.

• 同時展出的還有卡恩兩幅出自1980年代的重要早期作品，展現了他繪畫探索連貫一致的特性及其衍進變化。作品《斯托克弗萊明的懸崖 IV》出自1987年創作的一個重要系列，描繪了風景如畫的英國鄉村，霧氣籠罩著青翠的 山巒。在畫中央，一個小小的、神秘的開口，彷彿通往另一個世界的入口。

• Also on view will be two significant large-scale early works from the 1980s that speak to both the consistency and the evolution of Kahn’s painterly inquiry. The Cliffs at Stoke Fleming IV belongs to an important series of works from 1987 that features the picturesque English countryside with fog rolling in over the verdant outcroppings. At center, a small and mysterious opening suggests a portal to another world.

• 作品《紙牌遊戲》(1985)將卡恩 的風景與肖像架接起來，讓人鬆散地聯想到達芬奇的《最後的晚餐》(1495-1498)的構圖。卡恩錯視畫構築的天堂風景模仿了祭壇畫的架構， 囊括了他作品中的諸多關鍵主題，存在於現實與想像之間的懸崖邊。

• The Card Game (1985) bridges Kahn’s landscapes with his portraits, loosely evoking the composition of Leonardo da Vinci’s The Last Supper (1495–1498). Mimicking the construction of an altarpiece, Kahn’s trompe l’oeil paradise encapsulates many of the key themes of his practice, existing on the precipice between the real and the imagined.

Background: Artist

• 斯科特·卡恩1946年出生於馬薩諸塞州。 1967年，他獲得了費城賓夕法尼亞大學 BA人文學士學位。於1970年在羅格斯大學完成了MFA純藝術碩士學位。2021年和2022年，阿爾敏·萊希畫廊在巴黎和紐約為卡恩的作品舉辦了兩 場個展。卡恩曾兩次榮獲「波洛克-克拉斯納基金會獎」(1986和1995年)，並曾在位於紐約蒙托克的愛德華·F.阿爾比基金 會做藝術駐留(1975-1977年)。他的作品被珍藏於中國佛山的和美術館、邁阿密當代藝術中心、上海龍美術館， 以及達拉斯的拉徹夫斯基收藏會。現生活工作於紐約。

• Scott Kahn was born in Springfield, Massachusetts, in 1946. He received a BA from the University of Pennsylvania, Philadelphia, in 1967. Kahn subsequently completed an MFA at Rutgers University in New Brunswick, New Jersey, in 1970. In 2021 and 2022, Almine Rech held solo presentations of Kahn’s work in Paris and New York. Kahn has been the recipient of two Pollock-Krasner Foundation Grants (1986 and 1995) and a residency at The Edward F. Albee Foundation in Montauk, New York (1975–1977). His work is held in institutional collections including the He Art Museum, Foshan, China; Institute of Contemporary Art, Miami; Long Museum, Shanghai; and Rachofsky Collection, Dallas. The artist lives and works in Westchester, New York.

Final tips:

看著夢幻的藍色滿月，仿佛走進了一個超現實的夢境。

Following the precise details of the full moon, these paintings exceed their realism.

斯科特·卡恩 《藍月難逢》｜Scott Kahn: Once in a Blue Moon

Date:

2024.11.19 – 2025.2.22

Venue:

David Zwirner Gallery

香港中環皇后大道中80號H Queen’s 6樓｜6/F, H Queen’s, 80 Queen’s Road Central

Courtesy to Artists and David Zwirner