X美術(shù)館欣然呈現(xiàn)羅馬尼亞裔匈牙利藝術(shù)家博通·科勒塞斯（Botond Keresztesi）迄今為止規(guī)模最大的職業(yè)生涯個展“幾次瞌睡后沉睡的繆斯”，這也是他在中國的首次機構(gòu)個展。展覽于2025年2月28日至5月11日在北京X美術(shù)館的二層開放。

本次展覽精選了科勒塞斯過去十年創(chuàng)作的十六件作品，通過他獨特的“精神圖像重構(gòu)”視角展現(xiàn)了他獨特的、富有遠見的美學(xué)。展覽標(biāo)題“幾次瞌睡后沉睡的繆斯”取自于現(xiàn)代雕塑之父康斯坦丁·布朗庫西（Constantin Brancu?i）的雕塑作品《沉睡的繆斯》（Sleeping Muse），呼應(yīng)了科勒塞斯將藝術(shù)史典故與當(dāng)代數(shù)字文化相融合的實踐。他不斷演變的圖像創(chuàng)作實踐深深根植于對當(dāng)下的反思，將觀眾帶入一個推測性的未來。“幾次瞌睡”則直指藝術(shù)家的實踐敘事，超現(xiàn)實的夢境與烏托邦游離往復(fù)在現(xiàn)實與非現(xiàn)實之間，在不確定性中抵達曖昧的邊界。

在此次展覽中，科勒塞斯以一種夢幻而深刻的方式反思了數(shù)字時代，并將古典藝術(shù)、當(dāng)代流行文化和推測性的未來主義元素交織在一起。通過這十六件作品，他構(gòu)建了一個生動的宇宙，將歷史回響、技術(shù)焦慮和超現(xiàn)實幽默匯聚一堂。科勒塞斯邀請觀者游走其中，以期觸發(fā)對他所設(shè)想的未來以及身處當(dāng)下迅速變化的現(xiàn)實的思考。科勒塞斯的創(chuàng)作植根于達達主義、超現(xiàn)實主義深厚的土壤之中，并深受勒內(nèi)·馬格里特（René Magritte）、喬治·德·基里科（Giorgio de Chirico）等超現(xiàn)實主義大師的影響。在他的畫作里，藝術(shù)史經(jīng)典名作中的非人主體跨越時空為其所用，耳熟能詳?shù)囊曈X元素以一種詭譎晦澀的方式變形、解構(gòu)、替換，與偶然元素并置，最終呈現(xiàn)出夢境般反邏輯的奇特景觀。

科勒塞斯試圖以這種方式消解藝術(shù)精英主義，天線寶寶重現(xiàn)亨利·馬蒂斯（Henri Matisse）的《舞蹈》（La Danse）；機器人-馬-蛇的混合體取代了馬格里特畫中騎馬的女子；而“繆斯”的變體則多次出現(xiàn)在畫作的邊緣、中心，或隱藏在扭曲的角落。這些線索持續(xù)地向人類已有的文化成果發(fā)出呼應(yīng)和嘲諷，并通過重新定義將人類剝離這一步驟。藝術(shù)家的近期創(chuàng)作則逐漸向未來主義和后人類美學(xué)靠攏。流動的立體金屬色澤構(gòu)建出一個人類消亡后的烏托邦，游戲、影視、汽車部件、雕塑，這些屬于集體記憶的人類遺產(chǎn)以一種千禧年的怪物美學(xué)糅合在一起，永恒地存在于虛構(gòu)的世界。對人類權(quán)力的反叛在徹底的忽視中達成，動蕩的不安延續(xù)在科勒塞斯的創(chuàng)作之中，生物、機械與其他模棱兩可的無機物構(gòu)成了一幅可怖的圖景：死亡終將無可避免，或許只有機械永生。

X Museum is delighted to present 'Sleeping Muse After Several Snoozes' the largest survey exhibition to date by Romanian-born Hungarian artist Botond Keresztesi and his first institutional solo show in China. This exhibition is on view from February 28^th to 11^th May 2025, on the second floor at X Museum in Beijing.

This exhibition features sixteen works spanning the last decade and showcases Keresztesi's distinct visionary aesthetic, which is shaped through his unique 'mental-photoshop' lens. The title of the exhibition, 'Sleeping Muse After Several Snoozes', is taken from the sculpture Sleeping Muse by Constantin Brancu?i, the patriarch of modern sculpture, and echoes Keresztesi's practice of blending art historical references with contemporary digital culture, his ever-evolving image-making practice transports viewers into a speculative future deeply rooted in reflections on the present. 'Several Snoozes' is a direct reference to the narratives of the artist's practice, in which surreal dreams and utopias flit between reality and non-reality, arriving at ambiguous boundaries in the midst of uncertainty.

With 'Sleeping Muse After Several Snoozes', Keresztesi crafts a dreamlike yet incisive reflection on the digital age, weaving together elements of classical art, contemporary pop culture, and speculative futurism. Through these sixteen works, he constructs a vivid universe where historical echoes, technological anxieties, and surrealist humor converge. As we navigate this exhibition, we are invited to ponder not only the future Keresztesi envisions but also the rapidly shifting realities we already inhabit. Keresztesi's creation is rooted in the rich soil of Dadaism and Surrealism and is deeply influenced by Surrealist masters such as René Magritte and Giorgio de Chirico. In his paintings, non-human subjects from classic masterpieces of art history are used across time and space; familiar visual elements are deformed, deconstructed, and replaced in a bizarre and obscure manner, juxtaposed with random elements, ultimately presenting a dreamlike and illogical spectacle.

In this way, Keresztesi attempts to dissolve artistic elitism: the Teletubbies recreate Henri Matisse's La Danse; a robot-horse-snake hybrid replaces the horseback rider in Magritte's paintings; and variations of the 'Muse' appear in multiple times on the edges, in the center, or hidden in distorted corners of the paintings. These threads continuously echo and mock humanity's existing cultural achievements, and the step of stripping humanity away is achieved through redefinition. The artist's recent works gradually lean towards futurism and post-human aesthetics. Fluid, three-dimensional metallic hues construct a utopia after the demise of humanity. Games, films, car parts, and sculptures—this human legacy of collective memory is integrated into a millennial monster aesthetic, eternally existing in a fictional world. Rebellion against human power is achieved through utter disregard, and the turbulent unease persists in Keresztesi's creations. Living Creatures, mechanics, and other ambiguous inorganic substances constitute a terrifying scene: death is inevitable, and perhaps only machines are immortal.

Botond Keresztesi

博通·科勒塞斯（Botond Keresztesi，1987年生于羅馬尼亞）現(xiàn)工作和生活于匈牙利布達佩斯。科勒塞斯在2012年于匈牙利美術(shù)大學(xué)取得碩士學(xué)位。藝術(shù)家的創(chuàng)作領(lǐng)域包括繪畫、素描和場域特定的繪畫裝置等等。近期個展包括Seventeen（倫敦）、Longtermhandstand（布達佩斯）、The Hole（紐約）、Kosice Kunsthalle（斯洛伐克）、lítost（布拉格）、WT Foundation（基輔）。他的作品被X美術(shù)館（北京）等機構(gòu)收藏。

Botond Keresztesi, b. 1987 in Romania, lives and works in Budapest, Hungary. Keresztesi has graduated with a Master's degree from the Hungarian Fine Arts Academy in Budapest in 2012. The artist is working in painting, drawing, and site-specific painting installations. Recent solo exhibitions include Seventeen, London; Longtermhandstand, Budapest, Hungary; The Hole, NYC; Kosice Kunsthalle, Kosice, Slovakia; lítost, Prague, Czechia; WT Foundation, Kyiv, Ukraine. His work is included in the public collections of X Museum (Beijing).