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版权所有 此作品仍被视为受版权保护。Stefano Cerio 出生于 1962，且无记载的逝世日期；版权在艺术家逝世后持续 70 年。此处展示图像仅供教学参考；相关权利仍归权利人所有。
语境中
Night Ski 9 — Stefano Cerio
原件尺寸为 135 × 110 厘米（高 × 宽），此处将其与一名平均身高的成年人并列展示。
上行：年份；下行：艺术家在各时间段起始及结束时的年龄（出生为0岁）。
创作于艺术家 49 岁时。 0 在我们目录中该艺术家的 1 件有明确日期的作品中，早于此件的作品。
▲ 此作，2011 每一幅带有日期的画作，按年代编排
图像测量值
主色调
Espresso #5f5b55
已收藏色板
关于此艺术品
Night Ski 9 — Stefano Cerio
This work donated to the Hospice is part of the “Night Ski” series: ski lift facilities photographed at night under the beam of the powerful reflectors that pick up the slightest detail giving even the most familiar subjects a sinister surreal atmosphere. During the day, these are places full of noisy tourists, the sound of skis clicking against each other, the smell of sun cream, and the beep of ski pass tickets; at night the atmosphere is totally different, menacing, almost metaphysical, provoking a slight feeling of anxiety. We never really notice the true aspect of these places; we use them – that’s all – but now, on the contrary, we are forced to take a closer look. We are no longer quite as comfortable with these objects, these places, these spaces. Like children, we feel a need to hide our heads under the blankets, waiting until it is light again and everything assumes its “normal” aspect, while remaining fully aware that we have experienced “the other side of things”.
艺术家与博物馆
出生于 Italy
Stefano Cerio, an Italian photographer and video artist born in 1962, possesses a singular ability to transform the mundane into the metaphysical. His artistic practice is defined by a haunting preoccupation with deserted amusement parks, waterparks, and tourist destinations—spaces that are, by design, built for the cacophony of human joy but captured by him in states of profound stillness. Through his lens, these manufactured environments undergo a metamorphosis, shedding their commercial identity to reveal a more unsettling, surreal reality. Cerio does not merely document abandoned spaces; he explores the psychological weight of what remains when the crowds depart, finding a melancholic beauty in the echoes of vanished activity.
The evolution of Cerio’s work is marked by a series of thematic explorations that expand geographically and conceptually. His breakthrough publication, Aqua Park (2010), introduced the world to his fascination with empty waterparks bathed in muted, contemplative light. This project served as an essential foundation for his later investigations into the transient nature of human pleasure. He continued this trajectory with Vice Versa (2013), which turned his gaze toward deserted Italian tourist landmarks, and Chinese Fun (2015), a sweeping visual study of theme parks in Beijing, Shanghai, Qingdao, and Hong Kong. In these works, the absence of spectators becomes a character in itself, forcing the viewer to confront the eerie, hollowed-out shells of globalized leisure.
Cerio’s technical approach is deeply rooted in the visual language of cinema, utilizing light and shadow to evoke a sense of cinematic suspense and existential dread. His Night Games (2017) series exemplifies this mastery, capturing recreational spaces such as cruise ships and ski resorts under the stark, artificial glare of night-time reflectors. In works like Night Ski 9, the powerful beams of light pick up minute details, imbuing familiar objects with a sinister, almost menacing atmosphere. By stripping away the daytime context of sun cream, noise, and movement, Cerio reveals the "other side" of these spaces—a realm that feels both alien and deeply unsettling.
Thematic complexity permeates every frame of his oeuvre. While his work is often categorized by its focus on lonely artificial environments, critics have noted that deeper philosophical inquiries are at play. His imagery oscillates between several recurring pillars of thought:
Representation and Illusion: The tension between how a space is marketed to the public and its true, desolate essence.
Vision and Expectation: How the viewer’s preconceived notions of "fun" are challenged by the sight of empty, silent structures.
Reality and Absence: The confrontation with the physical reality of objects once they are stripped of their human purpose.
Beyond his photographic prowess, Cerio has demonstrated a versatility that extends into video art and large-scale installations. His 2019 project, L'Aquila, involving inflatable structures in the L'Aquila region, showcased an ability to move beyond the static frame to engage with physical space and site-specific interventions. This expansion of his medium reinforces his status as a contemporary artist capable of navigating both the intimate scale of a photograph and the immersive nature of installation.
Cerio’s significance lies in his contribution to the contemporary discourse on "non-places"—those transitory, artificial zones of modern life that lack historical or personal identity. By documenting these sites at their most vulnerable and lonely, he provides a profound commentary on the ephemeral nature of human culture and the persistent, haunting presence of the void. His exhibitions, ranging from Villa Pignatelli in Naples to the MAXXI outpost in L'Aquila, continue to invite audiences into a world where the boundaries between reality and dream become beautifully, and sometimes terrifyingly, blurred.
展出于 Bologna, Italy
In the heart of Bologna, Italy, there exists a space that transcends the traditional boundaries of medical care to become a profound testament to the healing power of beauty. The Fondazione Hospice Seràgnoli Onlus is far more than a pediatric hospice; it is a sanctuary where the clinical and the creative converge to support children facing serious illnesses. At its very soul lies the remarkable
“do ut do”
initiative, a tradition of profound generosity where donors contribute significant artworks to bolster the foundation's vital medical programs. This symbiotic relationship creates a unique ecosystem of care, where every donated piece serves as both a cultural treasure and a direct contribution to the well-being of patients, ensuring that the act of collecting becomes an act of deep humanitarian devotion.
The physical environment of the hospice is a masterclass in therapeutic design, brought to life by the visionary hand of
Renzo Piano
. The architecture embodies an ethos of openness, tranquility, and an unbreakable connection with the natural world. Designed to dissolve the boundaries between the interior sanctuary and the landscape, the building features expansive windows that overlook a sprawling 16,000-square-meter garden. For the admirer of modern architecture and the interior designer alike, the space offers a breathtaking study in how natural light and organic integration can foster emotional stability. The deliberate use of transparency allows the shifting light of the Italian sky to animate the halls, creating an immersive experience that provides comfort and a sense of continuity for children and their families during their most challenging journeys.
To wander through the hospice is to engage in a silent dialogue with hope. The collection is meticulously curated, selecting contemporary works specifically for their ability to stimulate emotional resonance and provide a sense of peace. The centerpiece of this spiritual landscape is
Yoko Ono’s iconic “Wish Tree,”
a monumental installation that invites visitors to express their aspirations for healing, turning the collective hopes of the community into a tangible part of the hospice's atmosphere. This spirit of innovation has been further enriched by collaborations with legendary figures such as
Alessandro Mendini
, whose work has explored the intersection of design and technology within the foundation’s history. In this extraordinary setting, art is never merely decorative; it is an integral component of a compassionate care model that seeks to nourish both the body and the soul through the enduring strength of human creativity.
originaluniqueart.com/zh/art/download/stefano-cerio-night-ski-9-D9THSX-en/
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Night Ski 9 — Stefano Cerio
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Stefano Cerio 的《Night Ski 9》 呈现出Monochromatic的色彩强度。
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Stefano Cerio 的《Night Ski 9》 的主色调为 Espresso (#5f5b55)。