Italian conceptual artist Guiseppe Penone's sculptural works transform London' Marian Goodman Gallery into a dreamlike forest. Pictured: installation view

朱塞佩·佩农在他杰出的职业生涯中大部分时间都是与伍德合作的。1968年，他的第一批作品是在家乡加雷西奥(Garessio)郊外的一片森林中创作的，他最著名的作品是他的Tratterne系列，其中一只青铜手被扔在一棵活树上。因此，伦敦的玛丽安·古德曼画廊已经变成了一座梦幻般的森林，对这位意大利艺术家的概念作品进行了一次新的调查，这是非常恰当的。

幽灵般的白色空间里点缀着雕刻的树木，一堵黑色月桂叶的墙，还有一堆破碎的树枝。这感觉就像走进一个童话般的林地场景-这个故事的寓意是质疑我们在生态系统中的位置，并问我们人类的手是如何在自然界中留下印记的。

自始至终，天然材料和人造材料之间都在进行拔河。树皮让位于原始的白色大理石；一笼树枝上铺着光滑的陶瓷砖；清晰的拇指指纹被留下在佩农女儿的一排粘土肖像上。一块巨大的帆布覆盖着自由形状的相思荆棘，它的制造材料已经被有机材料所取代。这种令人窒息的感觉得益于月桂树叶子散发出的令人兴奋的杏仁味，它环绕着画廊，诱使游客进入禅宗的状态。

佩诺内曾说过：“触觉让我们更接近现在。”玛丽安·古德曼采纳了这个概念，并培养了它。一个人离开伦敦的空间，就像在水疗中心度过了一天一样；由于佩农自己的正念，他更加留心了。在玛丽安·古德曼的巴黎前哨举行的平行展览继续揭开佩农迷人而持续的长廊的层次感。如果这是一个类似于伦敦治疗展的节目，那将是值得一看的。

The ghostly white space is punctuated by sculptural trees, a wall of dark laurel leaves (pictured) and ramshackle assemblages of broken branches

A cage of branches is topped with smooth terracotta tiles

Guiseppe Penone has worked with wood for most of his long and illustrious career. His first pieces were made in a forest outside of Garessio in 1968, and he is best known for his Tratterne series (pictured), in which a bronze hand is cast onto a living tree

A series of Fingerprint (ink on paper) impressions minimally line the upper gallery walls

Clear thumb-prints are left in a line of clay portraits of Penone's daughter (pictured)

An imposing canvas covered in a freeform sattering of Acacia thorns (pictured) proves that manufactured materials have surrendered to the organic ones

Penone once said, 'Tactile perception brings us closer to the present.' Marian Goodman have taken this concept, and nurtured it. Pictured: installation view

A parallel exhibition in Marian Goodman's Paris outpost continues to peel back the layers of Penone's fascinating and continuing ouevre. If it's anything like the theraputic London show, it will be well worth a visit. Pictured: installation views

keywords:London exhibitions, Paris exhibitions

关键词：伦敦展览，巴黎展览