'Light of Dawn' at the Mac Lyon is Yoko Ono's first retrospective to be held in France. Pictured: En Trance, portrait of Yoko Ono, 1997. Photography: Bjarke Ørsted. Courtesy Half-A-Wind Show, Louisiana Museum of Modern Art, Denmark, 2013

我们大多数人都会熟悉小野洋子和披头士超级巨星约翰列侬(John Lennon)的诱人画面，他们在床上抗议上世纪60年代末的第二次印度支那战争。然而，在全球声名狼藉之后，小野作为一个衣架被抛在一边，花了数年的时间，这位来自日本贵族的神秘的鸟眼生物才被公认为一位独立的艺术家。

Yoko Ono用她那声名狼藉的指导绘画为表演艺术的兴起做出了贡献，她创造了一个“开始”，说明了如何被别人（任何人）完成。在分享她的作品时，她塑造观众、艺术家和艺术品的角色，取代时间和惯例。

“通过把艺术的塑料质量推到隐形的程度，仅仅是一声喊叫，通过使用身体，通过认同当下和不完整，通过邀请所有人和杂七杂八加入进来，创造或解读她的分数，她实际上是在艺术史上写下了新的一页，”一位名为“黎明之光”的新Mac Lyon回顾展的共同策展人蒂埃里·瑞斯皮尔(Terrry Raspail)说。

继纽约现代艺术博物馆和东京当代艺术博物馆的大型展览之后，“黎明之光”是小野洋子在法国举行的第一次回顾展。在1952-2016年间，这片3000平方米的空间里有一片碎片化的声音展示，这些声音“从所有墙壁上放射出来”、纹理和光线，让人无法想象完成和“练习”的作品，比如Perspex令人惊讶的装置，并通过信任国际象棋桌来玩，关键在于它正是未被创造出来的无限可能性。

偶尔会批评因缺乏方向感而被误认为是晶体管的晶体管，ONO仍然在沿着一个完全不确定的路径提供了不懈的保证——但是，这并不产生自由的精神，然而，一个结构慢慢地开始出现。

Contributing to the rise of performance art with her notorious Instruction Paintings, Ono creates 'beginnings' with instructions for how they should be finished by others. Pictured left: Lighting Piece, c. 1955. Private collection. Right: Painting To Hammer A Nail, 1961–66. Photography: John Bigelow Taylor 

The 3,000 sq m space is home to a fragmented display of sound, sculpture, photography and installations like AMAZE (pictured), 1971. Photography: Iain Macmillan. Courtesy Everson Museum of Art, Syracuse, New York

Also on display are the Play It By Trust chess tables. Pictured: Play It By Trust, 1966–67. Photography: Miguel Angel Valero. Courtesy Lonja del Pescado, Spain

The exhibition spans the period 1952–2016. Pictured: Family Album (Blood Objects) Exhibit A: Table Setting, 1993. Photography: William Nettles

This new retrospective follows major New York MoMA and Museum of Contemporary Art of Tokyo exhibitions. Pictured: Parts of a Light House, 1966. Photography: Iain Macmillan 

Half a Room, 1967. Photography: Clay Perry. Courtesy Lisson Gallery, London

Helmets (Pieces of Sky), 2001. Photography: Daniele Nalesso. Courtesy Fondazione Bevilacqua La Masa, Italy 

Franklin Summer, 1994–98. Photography: Tom Powell. Courtesy Andre Emmerich Gallery, New York, 1998

Pictured left: Morning Beams, 1997–2000. Photography: Jon Hendricks. Courtesy Palacio de Sastago, Spain. Right: Morning Beams, 1997–2013. Photography: Norbert Miguletz. Courtesy Schirn Kunsthalle Frankfurt

It is through Ono's unyielding free spirit that an ovrarching structure slowly begins to emerge. Pictured: Balance Piece, 2010. Photography: Marco Delogu. Courtesy Transparency, Art for Renewable Energy, MACRO, Rome, 2010

keywords:France, Galleries

关键词：法国，画廊