'Neon: The Charged Line', opens this weekend at Grundy Art Gallery in Blackpool – and is well worth a trip up north. Pictured: Green Pimp, by David Batchelor, 2006. Photography: Elly Parsons. Courtesy the artist

黑池以其盘旋的海鸥，被遗忘的碎屑和危险的廉价啤酒，不是第一个你会发现约瑟夫·科苏斯的杰作，就坐落在标志性的特蕾西·艾敏旁边。这个伟大和华丽的并列，恰恰是“霓虹灯：带电线”的喜悦，本周末在Grundy艺术画廊开幕。

此次展览恰逢黑池照明，展示了自上世纪60年代以来，霓虹灯在美术中的使用情况，而楼上画廊的平行展览则照亮了上世纪30年代丢失的霓虹灯标志设计。在这些匿名素描中，还不清楚有多少人能进入生产阶段。不管是哪种方式，这些幸存下来的图画，都是布莱克浦独有的，它们本身就是艺术品。他们捕捉到霓虹灯的朦胧的光辉与粉笔上的夜晚黑色的纸张，提供了一个难得的一瞥媒介的起源。

在楼下，当代作品中发出的奇异的绿光吸引着游客们走进了现在。“霓虹灯既是未来，又是天生的复古，”策展人理查德·帕里(RichardParry)在谈到“光明”的永恒品质时说。“关于黑池有一些科幻的东西，霓虹灯就能用它。”

这种“黑池式”的喜怒无常的海边霓虹灯是由Evron Tekkotay'迷幻的Tunz（2015）和BabBi（2014）在画廊最大的房间里提供的，其中包括两个令人眼花缭乱的动感片中的两个。相反，来自David Batchelor的一幅巨大的图画作品需要一些严肃的太阳镜，并在空间上投射出一种可怕的绿色色调。馆长解释说，彩色玻璃管被精致地包裹在回收水泥搅拌机上，这反映了布莱克浦的工人阶级历史。

霓虹灯的黑暗面(如果有)出现在“文字/语言”的房间里，深入探讨霓虹灯与文字的关系。在这里，特蕾西·艾敏的“我知道她的经典的，激情的涂鸦”，而整个科苏斯灰色的墙壁充满了他大胆的，元情感，探索词，符号和意义之间的关系。

这些作品-特别是Kosuth的开创性作品Neon(1965)-探讨了媒介的艺术品质。它是一个光形态，被创造出来只照亮自己-光是为了光的缘故。这使得它成为像Kosuth这样的概念性艺术家的理想素材，但却是一件棘手的事情。帕里通过关闭所有的头顶画廊灯，建造隔墙和覆盖所有的窗户，管理得很好。这样，不同颜色的霓虹灯在中间混在一起，黑暗的角落就像罕见的、对比鲜明的平静时刻。在这些，我们停下来重新考虑黑池照明，质疑它们是否在艺术史书籍和旅游小册子中的地位。

Coinciding with the Blackpool Illuminations, the exhibition charts the use of neon in fine art since the 1960s, while a parallel exhibition in the upstairs gallery shines a light on lost neon sign designs of the 1930. Pictured: I Know I Know I Know, by Tracey Emin, 2002. Courtesy the artist and White Cube

'Neon is at once futuristic and inherently retro,' curator Richard Parry says of the lightform's timeless quality. Pictured: Neon, by Joseph Kosuth, 1965. Courtesy the artist and Sprueth Magers London

Half sculpture, half painting, the selection of works force us to question whether the Blackpool Illuminations have a place in art history as well as the tourist books. Pictured: 2012, by Mai-Thu Perret, 2008. Photography: Elly Parsons. Courtesy the artist and Simon Lee Gallery London / Hong Kong

Pictured: Triple X Neonly, by François Morellet, 2012. Photography: Elly Parsons. Courtesy Collection Cattelain

Pictured left: Apocalypse Ballet (neon-belt), by Mai-Thu Perret, 2006. Courtesy the Bonnefantenmuseum, Masstricht. Right: BUMP, by Prem Sahib, 2013. Photography: Elly Parsons

Blackpool, with its circling gulls, forgotten chippies and cheap beer, is not the first place you'd expect to find a Joseph Kosuth masterpiece nestled next to an iconic Tracey Emin. This juxtaposition of the great and the gaudy is precisely the joy of 'Neon: The Charged Line'. Pictured: installation view. Photography: Elly Parsons

Of the early sketches, it's unclear how many made it to production. Either way, the surviving drawings, unique to Blackpool, are artworks in themselves, capturing neon's hazy glow with finely smudged chalk. Pictured: Untitled sketch from the 1930s

Untitled sketch from the 1930s

keywords:Tracey Emin, Galleries, Lighting

关键词：Tracey Emin，画廊，照明