对画空间画廊荣幸地宣布，法国顶级当代艺术大师马克•帝格朗尚新作展将于 2011年 9月 17日下午4点隆重开幕。

作为欧洲当代艺术最重要的代表人物之一，马克•帝格朗尚多年来一直活跃于欧洲、美国等地。他的作品被包括法国蓬皮杜艺术中心、法国国家现代艺术美术馆、巴黎市立现代美术馆， 法国国会在内的众多艺术机构广泛收藏，刚刚结束的在巴黎市立现代美术馆的回顾展，更加奠定了他作为法国最重要的架上艺术家的地位。他的作品更被蓬比杜艺术中心用于收藏集的封面。

马克·帝格朗尚的作品为无以计数的青年艺术家们启迪灵感，提供参悟，堪比毕加索。他的绘画在展现其个人世界的同时，以世界性的语言，成为整个艺术史不可或缺的一部分。这也正是为什么他的绘画在世界各地广受喜爱，同时也引起了中国观众的关注。

他的作品恬然自得，透视效果的画面中安逸闲适处处皆在。他以独特的绘画语言描绘动静与虚实的极致，他笔下的人物、动物、风景和现实都在瞬间的静止中被施以恒动的久远，从他的作品中，我们可以观察和体会到法国当代艺术的演变与发展。几年来，他作品中的人物、线条多若隐若现、逐渐变淡、几乎消逝、似有似无。马克·帝格朗尚为本次画展专门创作的作品，体现了他创作的新境界，因而更为引人关注。他曾说过：“凝固瞬间，这描述的可能只是我作品的表面。我的绘画，不是去保存什么，而是把运动着的世界在我眼里那一瞬间的真实再现出来，是试图建造、以图像去构筑我称之为的“monumental（宏大壮观）”。本次展览将展出马克•帝格朗尚的最新创作，敬请期待！

Marc Desgrandchamps is considered one of the most important European painters of his time. his paintings are constantly exhibited in all the Arts institutes of France included the Pompidou Centre, France's national museum of modern art, Paris municipal museum of modern art and France's parliament , and become an important part of their collection. A retrospective exhibition of Marc Desgrandchamps’s works has just finished at the Paris municipal museum of modern art, thus confirming the painter’s most important position as an artist on France’s art scene today. His work even used as the cover of the collection catalogue by Pompidou Centre.

Like of Picasso in his time, there are countless young artists who are inspired by the work of Marc Desgrandchamps, or refer to it. He has indeed managed to become part of the history of art and, while embodying it in his paintings his own world, he has made it universal, which certainly explains why his paintings can be felt by fans of so many various countries, and why they were able to attract the attention of Chinese public.

The series specifically designed for this exhibition in Beijing is particularly notable in that it reveals a new state in his work. In recent years, the figures, the shapes of his paintings tended to fade out, to dwindle, to disappear, to become almost immaterial. Marc Desgrandchamps said, ‘Fixing that which is escaping could be a description of what is inscribed on the surface of my paintings. This is not an act of preservation, but rather the attempt to restore to visibility a burst of reality, such as it could appear to me momentarily in the movement of the world. It is an attempt to build, construct in representation what I call the monumental’.