莎拉·文丘里：煤炭坝黑
Intro
在前往中国之前，我有了一个想法，尝试使用矿区的煤炭作为新作品的材料。我测试了将其作为颜料与阿拉伯胶混合使用，结果很有希望。我也想过要雕刻它，但是当到达煤炭坝时，煤炭并不容易找到，收集到的碎片都很小。矿区关闭后，实际上该地点的原煤已经被清空了，这些原煤被用作燃料或出售。因此，我很快放弃了制作雕塑的项目，而专注于绘画项目。当矿区的地下长廊也可以被探索时，可能会找到更大的煤炭块，如果我再次来到这里，雕塑项目就可以实现。
对于制作颜料，首先用砖头捣碎煤炭碎片，经过筛子处理后得到的粉末仍然太粗糙，用玻璃研磨杵研碎几个小时后，才能与粘合剂混合。我选择了传统的、自然的和生态的粘合剂:阿拉伯胶和亚麻籽油。于是创造了一种新颜色——“煤炭坝黑”。
我所有的画作都是在木板上完成的，我首先选择了工作室里可用的画板，这些画板刷了两层白色石膏并被粘合，这与我的画作的目的和材料选择逻辑相一致。此外，这些画板的大小与我在法国经常用来绘画的纸板支撑物大小相同。颜色范围被故意限制在“煤炭坝黑”和画板现有的白色底上。有两幅画作例外，它们添加了另一种来自地方土壤的颜料，我简单地将其命名为“煤炭坝土”。这种红土是周围乡村土壤的特征，颜料是从与煤炭相同的研磨过程中获得的，它们是两种来自同-片土壤的材料，对应着不同的地质时代和当代象征意义。这意味着将煤炭从其作为燃料、污染能源的过程中转移出来,作为颜料用于绘画，对我来说是一种思想意识和诗意的行为。
今天煤炭的美学品质将我们与这种沉积岩相关的不同历史联系起来:地球的地质历史(石炭纪)、工业历史、煤矿历史、矿工历史、全球变暖和煤炭开采产生的污染历史。在许多国家这些仍在发展，用煤炭绘画也将我们与绘画中的“黑色历史”整个联系起来。
Sarah Venturi
莎拉·文丘里：虚像的“真实”
莎拉·文丘里这次将向我们展示了在湖南煤炭坝镇里创作的摄影、影像、绘画、材料创作、修复等多组作品，充分展现了根茎式的序列发展的艺术创作模式。由于莎拉个人艺术的丰富性和特殊性，它以个案的形式向中国观众展现出法国艺术的丰富厚度；她深入介入到中国城乡，真实地与当地人和物进行互动，提供了一种对等跨国度驻地艺术的参考。
尽管艺术全球化变成了一种整体趋势，但当它真正发生的时候，也展现了跨文化交流的困难。莎拉与煤炭坝是一次真实的相遇，但她的作品又包含了一种时空上的错位，以及主客体的反复颠倒和相互映照。她巧妙地把语言、文化断裂转化成一种对“真实”求知和泛灵关怀，在错位中创造出一种迷幻般的“昨日重现”（Deja vu）。最后，又通过新的偶然把它再次“矫正”成现实。她在虚像中投射“真实”，使虚像的“真实”可以在现实中得到重叠。而，正是这种重叠带来了一种真实与梦境之间的错位感。
如此，我们又从她身上得到了一个我们历史中的“反题”：“真作假时假亦真”。但最终，文化误读使得真假不再重要。这因此变成了一次彼此间的“延异”。
Wang YiYi
艺术家：莎拉·文丘里
Artist: Sarah Venturi
莎拉·文丘里（Sarah Venturi）1973年出生于法国，现居马赛。我的艺术实践是通过在视觉艺术、行为艺术、保护与修复、艺术史和美学领域的学习过程建立起来的，近二十年来不断练习瑜伽，也完善了我的创作实践。
My creation is protean and multi-referential (performance, drawing, painting, sculpture, photography, musical writing, collage, installation), with wider developments in the fields of painting, performance and photography. It evolves in a rhizomatic and very often serial mode.Ambivalence, time, "vanity" and mutation phenomena, are constants in my practice. The water and fire elements often accompany me, summoned both for their poetics and for the ecological and political issues they underlie.
The creation of the FMR-Fédération Mondiale de Ricochets in 2009 with Cyril Jarton went in this direction, developing the game of ricochets as an artistic practice and thought experience, while defending water bodies increasingly endangered in the current ecological context.
Language and text are very present throughout my work. AH onomatopoeia has often been invested, in performance as in several series of paintings to which it brings a vocal dimension. Titles are designed in language games, others are offered in the koan mode. The same applies to painted sentences (ex: Peintures actions series, in progress since 2019).
Going beyond human non-human distinction is another issue in my work, nourished by anthropological and biopolitical reflection, an issue currently pursued with the Anima project (multimedia work combining photographic portraits of taxidermied animals from the collections of the PACA region and videos of animals in urban space, in Progress since 2018).
I claim the shift of meaning and values. The limits of genres and artistic techniques are questioned to reveal continuities between events, eras, practices often separated by cultural habits or definitions that are too limiting. If strong symbols are summoned, it is to "pull them to pieces", conjugate unity with duality (Yin always associated with Yang) on the principle of non-duality. It is above all a question of activating other dimensions of perception, of offering a meditative vision of a world perceived and thought from its nodes, its areas of friction. Create other time spaces, new constellations, to walk, sing and dance in chaos.
Sarah VENTURI，French b. 1973. Lives in Marseille, FranceMy artistic practice is set up through a course of study in the fields of visual arts, performing arts,conservation and restoration, the history of art and aesthetics. A constant practice of yoga for nearly twenty years, completes this course.
My creation is protean and multi-referential (performance, drawing, painting, sculpture, photography, musical writing, collage, installation), with wider developments in the fields of painting, performance and photography. It evolves in a rhizomatic and very often serial mode.Ambivalence, time, “vanity” and mutation phenomena, are constants in my practice. The water and fire elements often accompany me, summoned both for their poetics and for the ecological and political issues they underlie.
The creation of the FMR-Fédération Mondiale de Ricochets in 2009 with Cyril Jarton went in this direction, developing the game of ricochets as an artistic practice and thought experience, while defending water bodies increasingly endangered in the current ecological context.
Language and text are very present throughout my work. AH onomatopoeia has often been invested, in performance as in several series of paintings to which it brings a vocal dimension. Titles are designed in language games, others are offered in the koan mode. The same applies to painted sentences (ex: Peintures actions series, in progress since 2019).
Going beyond human non-human distinction is another issue in my work, nourished by anthropological and biopolitical reflection, an issue currently pursued with the Anima project (multimedia work combining photographic portraits of taxidermied animals from the collections of the PACA region and videos of animals in urban space, in Progress since 2018).
I claim the shift of meaning and values. The limits of genres and artistic techniques are questioned to reveal continuities between events, eras, practices often separated by cultural habits or definitions that are too limiting. If strong symbols are summoned, it is to “pull them to pieces”, conjugate unity with duality (Yin always associated with Yang) on the principle of non-duality. It is above all a question of activating other dimensions of perception, of offering a meditative vision of a world perceived and thought from its nodes, its areas of friction. Create other time spaces, new constellations, to walk, sing and dance in chaos.