In honour of the Year of Van Eyck, the Design Museum Ghent is hosting a large, kaleidoscopic exhibition showcasing the innovative and diverse use of colour in contemporary design. Starting from the Flemish Master’s skilful use of colour, prominently showcased in the recently restored “Adoration of the Mystic Lamb” (better known as the Ghent Altarpiece), the project brings together over 100 contemporary works that correspond with, or are directly inspired by Jan Van Eyck’s colour research and craftsmanship. Titled “Kleureyck: Van Eyck’s Colours in Design”, the exhibition is a co-production with lille3000 as part of Lille Métropole 2020 World Design Capital.

为纪念范艾克年，根特设计博物馆将举办一个大型的万花筒展览，展示当代设计中色彩的创新和多样化使用。从佛兰芒大师巧妙地运用色彩开始，在最近修复的“神秘羔羊的崇拜”（更好地称为根特祭坛）中突出展示，该项目汇集了100多种与Jan相对应或直接受其启发的当代作品Van Eyck的色彩研究和工艺。该展览的主题是“克鲁伊莱克：范·艾克的设计色彩”，是与里尔3000联合制作的，也是里尔大都市2020世界设计之都的一部分。

Curators Siegrid Demyttenaere and Sofie Lachaert have selected a diverse group of established and emerging international designers working in various design fields, from product and furniture design, to textiles, ceramics and glassware, grouping their work by colour to create a “pigment journey” based on 13 expressive details from the Ghent Altarpiece. In addition, visitors get to explore several research projects that attempt to deceptively answer simple questions such as how to create colour, while 11 experience rooms delve into the effect of colour on our senses inviting visitors to see, hear, taste and feel colour. Van Eyck was a colour virtuoso, known for his innovative technique which used layers of transparent, coloured glazes in addition to oil paints which gave his paintings an extreme luminosity and colour saturation. His ground-breaking technical skills were a product of his scientific knowledge—he knew everything about light refraction and reflection and was well-versed in physics, chemistry and the theory of perspective—all developed in response to questions that contemporary designers face even today, such as: How do you let the viewer feel what material things are made of? How do you give colours depth? Which pigments do you use for which shades? How do you direct the viewer’s gaze?

策展人Siegrid Demyttenaere和Sofie Lachaert挑选了一批在各个设计领域工作的成熟和新兴国际设计师，从产品和家具设计到纺织品，陶瓷和玻璃器皿，将他们的工作按颜色分组以创建“颜料之旅”，基于根特祭坛的13个表达细节。此外，参观者可以探索几个研究项目，以欺骗性的方式回答简单的问题，例如如何创造色彩，而11个体验室则深入研究了色彩对我们感官的影响，从而吸引参观者看到，听到，品尝和感觉到色彩。范·艾克（Van Eyck）是一位色彩大师，以其创新技术而著称，该技术除了使用油画颜料外，还使用了透明的彩色釉料层，使他的画具有极高的亮度和色彩饱和度。他突破性的技术技能是他科学知识的产物-他对光的折射和反射一无所知，并且精通物理学，化学和透视理论-所有这些都是针对当代设计师即使在今天所面临的问题做出的回应，例如：您如何让观看者感觉到物质是由什么构成的？你如何给颜色深度？您为哪种色调使用哪种颜料？您如何引导观众的目光？

Exhibition view. -Kleureyck. Van Eyck’s Colours in Design- at Design Museum Ghent. Featured: Juliette Clovis, Manis Tetradactyla, 2019. Porcelain on mixed media. Photo by Filip Dujardin.

展览视图。-克鲁伊莱克。范·埃克的“设计中的色彩”，根特设计博物馆。精选：朱丽叶·克洛维斯（Juliette Clovis），玛尼斯·特拉达克蒂拉（Manis Tetradactyla），2019年。Filip Dujardin摄。

Conceived as a walk through Van Eyck’s colour universe, the main part of the exhibition is structured around 13 details from the Adoration of the Mystic Lamb, each one focusing on a particular colour and its relation to light, material, pattern and space—from a black shadow, to Mary’s deep-blue cloak, to the red roofs of medieval Ghent, through to the shiny bronze of a chair, the sumptuous textures of velvet and fur headgear, and the soft wings of the Archangel Gabriel. Each section encompasses a selection of contemporary works that echo, build on or draw from Van Eyck’s particular effect. At the same time, the works intersect with other aspects of the painter’s altarpiece, such as symbolism, craftsmanship, the display of materials, and transparency. Take for example the realistic depiction of a nude-coloured robe in the lower panel of Van Eyck’s altarpiece, evocatively reflected in the cloth-like undulations of Marie Filippa Janssen’s ceramic work and Ying Chang’s draped objects made out of paper and glue. Meanwhile, the tactility of the same detail is echoed in Andrés Reisinger’s hydrangea flowers-inspired “Hortensia Chair”.

展览的主要部分是围绕范艾克（Van Eyck）的色彩世界而设计的，其主要部分围绕着《神秘羔羊的崇拜》中的13个细节，每个细节着眼于一种特定的颜色及其与光，材料，图案和空间的关系。黑色的阴影，到玛丽深蓝色的斗篷，到中世纪的根特的红色屋顶，再到椅子的发亮的青铜色，天鹅绒和皮草头饰的华丽纹理，以及大天使加百列的柔软翅膀。每个部分都包含一系列当代作品，这些作品与Van Eyck的特殊效果相呼应，相互借鉴或借鉴。同时，这些作品与画家祭坛的其他方面相交，例如象征主义，工艺，材料展示和透明度。以范·艾克（Van Eyck）的祭坛下面板中一件裸色长袍的真实描绘为例，这令人回味地反映在玛丽·菲利帕·扬森（Marie Filippa Janssen）的陶瓷作品和盈昌用纸和胶水制成的垂垂物体的布状起伏中。同时，安德烈斯·雷辛格（AndrésReisinger）以绣球花为灵感的“霍滕西亚椅子”（Hortensia Chair）也呼应了相同细节的触感。

While designers like Janssen, Chang and Reisinger focus on the materiality of colour, others explore the effect of colour on perception. The multi-coloured finish of Patricia Urquiola’s “Shimmer” glass coffee table takes advantage of light refraction paying tribute to Van Eyck’s halo-like aureole that frames the dove-figured Holy Spirit in the central panel of the Adoration of the Mystic Lamb. Similar effects can also be been in the colour gradients of Germans Ermičs’ “Low Horizon Screen” and Dawn Bendick’s dichroic glass sculptures which shift from warm orange or pink to dramatic neon green and blue. Consisting of different layers of glass with a colour foil in between, Sabine Marcelis and Brit van Nerven’s aubergine-hued “Seeing Glass - Big Round Mirror” mirrors Van Eyck’s experimentation with lighting, reflection and the rendering of colour as showcased in the shimmering armour of a knight on horseback in the bottom panel of the altarpiece. On the other hand, Van Eyck’s use of black pigment is picked up by Marcin Rusak who drenched leftover flowers in black resin to create unique slabs which he has assembled into sculptural objects, and Wieki Somers whose black glazed vases are adorned with silver-coloured flowers and leaves that have been burnt during firing.

像Janssen，Chang和Reisinger这样的设计师专注于色彩的重要性时，其他人则在探索色彩对感知的影响。Patricia Urquiola的“ Shimmer”玻璃茶几采用多色饰面，充分利用了光的折射，向Van Eyck的光环状光环致敬，该光环在神秘羊羔崇拜的中央面板中构筑了鸽子形的圣灵。德国人Ermičs的“低视线屏幕”和Dawn Bendick的二向色玻璃雕塑的颜色渐变也有类似的效果，这些雕塑从温暖的橙色或粉红色变为戏剧性的霓虹绿和蓝色。萨宾·马塞里斯（Sabine Marcelis）和布里特·范·内尔文（Brit van Nerven）的茄子色调“ Seeing Glass-Big Round Mirror”由不同的玻璃层和中间的彩色箔组成，反映了范·艾克的照明实验，反射和色彩渲染，如在祭坛底面板上的骑士的闪闪发光盔甲中所展示的。另一方面，范·艾克（Van Eyck）对黑色颜料的使用被马克辛·鲁萨克（Marcin Rusak）所吸收，他用黑色树脂浸透了剩下的花朵以制成独特的板坯，并将其组装成雕塑品，还有维克·萨默斯（Wieki Somers）的黑色琉璃花瓶上装饰着银色花朵以及在烧制过程中被烧毁的叶子

The exhibition also includes 11 experience rooms at Hotel de Coninck, the Museum’s 18th century building, where 11 designers were commissioned to present new works based on the Adoration of the Mystic Lamb that explore the relation between colour and the senses. In Nick Verstand’s “ANIMA III” installation, visitors are transfixed by a large luminescent sphere whose hypnotic fluidity is enhanced by an immersive soundtrack by Salvador Breed. Achieved by the use of a single projector coupled with a hemispherical lens, the flowing colours and light patterns seems to emanate from inside the orb, referencing Van Eyck’s painting technique of building up multiple layers of oil paint to give depth to his colours. With light and sound responding to the position of visitors in the space, the installation also explores the emotional relationship between humans and artificially intelligent machines, in an attempt to demonstrate that an object can feel, or even possess a soul.

展览还包括位于博物馆18世纪建筑的Hotel de Coninck酒店的11个体验室，其中11位设计师受委派根据神秘羔羊的崇拜展示了色彩与感官之间的关系的新作品。在尼克·维斯塔德（Nick Verstand）的“ ANIMA III”装置中，参观者被一个巨大的发光球体迷住了，萨尔瓦多·布雷德（Salvador Breed）的沉浸式配乐增强了催眠性的流动性。通过使用单个投影仪和半球形透镜实现的效果，流动的颜色和光的图案似乎从球体内散发出来，并参考了范·艾克的绘画技术，该技术建立了多层油漆以赋予其色彩以深度。光线和声音响应着访客在空间中的位置，

Anima III, 2020. Conceived and designed by Nick Verstand in collaboration with Salvador Breed (sound composition), onformative (software - design) and Pufferfish (spherical projection). Photography by Noortje Knulst.

《 Anima III》，2020年。由Nick Verstand与Salvador Breed（声音组成），信息性（软件-设计）和Pufferfish（球形投影）合作设计和构思。摄影：Noortje Knulst。

Exhibition view. -Kleureyck. Van Eyck’s Colours in Design- at Design Museum Ghent. Featured: Studio Plastique, Vitrum, 2020. Installation. Created for Kleureyck in partnership with Schloss Hollenegg for Design, WonderGlass. Photo by Filip Dujardin.

展览视图。-克鲁伊莱克。范·埃克的“设计中的色彩”，根特设计博物馆。特色：Studio Plastique，Vitrum，2020年。安装。与Schloss Hollenegg设计工作室WonderGlass共同为Kleureyck创建。Filip Dujardin摄。

Exhibition view. -Kleureyck. Van Eyck’s Colours in Design- at Design Museum Ghent. Featured: Studio Plastique, Vitrum, 2020. Installation. Created for Kleureyck in partnership with Schloss Hollenegg for Design, WonderGlass. Photo by Filip Dujardin.

Inspired by the history of the colour blue, Studio Plastique’s installation “Vitrum” installation consists of multiple glass panes, each representing a historically important shade of blue. The wallpaper installation from Studio RENS named “Changing Perception / ONLINE” explores how we perceive the colours of artworks on the internet by showcasing all the images you get when you google Van Eyck’s “Portrait of a man in a red turban”, while “Changing Perception / OBJECT” by the same team proves that colours only exist in our head by using light to change the colour of Martin Visser’s iconic chair arranged in a colourful array.

受蓝色历史的启发，Studio Plastique的装置“ Vitrum”装置由多个玻璃板组成，每个玻璃板都代表着历史上重要的蓝色阴影。Studio RENS的名为“ Changing Perception / ONLINE”的壁纸装置通过展示当您在Google Van Eyck的“红色头巾中的男人的肖像”上搜索时获得的所有图像，探索了我们如何感知互联网上艺术品的颜色，而“ Changing同一团队的“ Perception / OBJECT”（感知/对象）证明，只有通过使用光线来改变马丁·维瑟（Martin Visser）标志性的椅子的颜色（五颜六色的排列），颜色才会出现在我们的头脑里。

Inspired by the abundance of flowers in the central panel of Van Eyck’s Adoration of the Mystic Lamb, Ghent-based artistic duo Les Monseigneurs, in collaboration with textile manufacturer Verilin, designed “Un Jardin Miraculeux”, a series of tapestries based on flowers they collected, dried and scanned. The digital images that this process produced were then translated into textile patterns which they used as a backdrop for large daffodils, a reference to the wild narcissus in Van Eyck’s work. In Marianne Cauvard and Raphaël Pluvinage’s “Noisy Jelly” installation, visitors get to touch a series of colourful gelatine shapes inspired by the geometric patterns and colour palette of Van Eyck’s altarpiece, with each one producing a unique sound when you press it, while in “The Color Biolab” by Laboratory (an experimental lab for art/design and biotechnology at KASK / School of Arts Ghent) they get to see the creation of new pigments from unconventional sources such as such as microalgae and bacteria. Incredibly diverse and distinctive as they are, the works on display at Design Museum Ghent all share a deep affinity for colour and its creative potential, linking the past with the present by tackling fundamental questions such as how to create colour and what is the impact of colour that artists and designers have had to confront for millennia.

受范·艾克（Van Eyck）的《神秘的羔羊崇拜》中央面板上大量鲜花的启发，位于根特的艺术二人组Les Monseigneurs与纺织品制造商Verilin合作，设计了“ Un Jardin Miraculeux”，这一系列的挂毯基于他们收集的鲜花，干燥并扫描。此过程产生的数字图像随后被转换为纺织品图案，用作大型水仙花的背景，这是范艾克作品中的野生水仙的参考。在玛丽安·考沃德（Marianne Cauvard）和拉斐尔·普拉维尼格（RaphaëlPluvinage）的“嘈杂果冻”装置中，参观者可以触摸到一系列色彩缤纷的明胶形状，这些形状受到范艾克（Van Eyck）祭坛的几何图案和调色板的启发，每按一次，它们都会发出独特的声音，在实验室（KASK /根特艺术学院的艺术/设计和生物技术实验实验室）的“色彩生物实验室”中，他们看到了由非常规来源（例如微藻和细菌）产生的新颜料。根特设计博物馆展出的作品具有令人难以置信的多样性和独特性，它们都对色彩及其创造潜能有着深厚的亲和力，通过解决诸如创建色彩以及色彩的影响等基本问题将过去与现在联系在一起。艺术家和设计师必须面对数千年的色彩。

Exhibition view. -Kleureyck. Van Eyck’s Colours in Design- at Design Museum Ghent. Featured: Marente van der Valk (Food Lab – Jan van Eyck Academy), The Forager, Céline Pelcé, Re-table(au), 2020. Installation and activations. Created for Kleureyck. Photo by Filip Dujardin.

展览视图。-克鲁伊莱克。范·埃克的“设计中的色彩”，根特设计博物馆。特色：Marente van der Valk（食品实验室– Jan van Eyck学院），The Forager，CélinePelcé，Re-table（au），2020年。安装和激活。为Kleureyck创建。Filip Dujardin摄。

展览视图-克鲁伊莱克。范·埃克的“设计中的色彩”，根特设计博物馆。专题：黎明·本迪克（Dawn Bendick），《时光摇滚》，2019-2020 Filip Dujardin摄。