很少有藝術(shù)家能像辛迪·謝爾曼(Cindy Sherman)那樣預(yù)測(cè)未來(lái)。在社交媒體出現(xiàn)之前，在濾鏡出現(xiàn)之前，在自拍出現(xiàn)之前，在魯·保羅(RuPaul’Manhattan’在社會(huì)老齡化社會(huì)名流畫像》(2008),巨大的女性在性愛(ài)照片(1992),麥當(dāng)娜和孩子在歷史肖像(1988 - 1990)是一些許多面孔,凝視的具有里程碑意義的新展覽Sherman’ s肖像在巴黎路易威登基金會(huì),將持續(xù)至2021年1月。這次回顧展是她與謝爾曼密切合作設(shè)計(jì)的，是她在歐洲最大的作品展覽，匯集了她在1975年至2020年間創(chuàng)作的18個(gè)系列的170幅肖像，包括后屏幕投影(1980)、災(zāi)難(1986 -1987)、小丑(2003 - 2004)、壁畫(2010)和拼貼畫(2015)。與更新的全彩作品如《大頭照》(2000年)和《蕩婦》(2016-2018年)一起展出的是她突破性系列《無(wú)題電影劇照》的圖像，具有新的意義。

Few artists have predicted the future quite like Cindy Sherman. Before social media, before face filters, before selfies and RuPaul’s Drag Race, her chameleon-like portraits summoned us to interrogate identity and its construction. Manhattan’s ageing socialites in Society Portraits (2008), monstrous femininity in Sex Pictures (1992), Madonna with child in History Portraits (1988-1990) are just some of the many faces that stare back in a landmark new exhibition of Sherman’s portraits at the Fondation Louis Vuitton in Paris, which runs until January 2021.Designed in close collaboration with Sherman, the retrospective is the largest ever display of the artist’s works in Europe, bringing together 170 of her portraits from eighteen series created between 1975 to 2020 including Rear Screen Projections (1980), Disasters (1986 -1987),Clowns (2003 - 2004), Murals (2010) and Collages (2015). Shown alongside newer full-colour works such as Headshots (2000) and Flappers (2016-2018), the images from her breakthrough series Untitled Film Stills take on a new significance. Unnerving, compelling and enigmatic in equal measure, the 70 black and white portraits shot between 1977 and 1980, imagined a series of screen sirens and cinematic archetypes from an unknown, unnamed film. Just like today’s social media influencers, Sherman plays the role of make-up artist, director, stylist, props master, photographer and model, but as with all of her works, it is the absence of the artist herself that continues to fascinate. Above:Cindy Sherman, Untitled #74, 1980. Collection of Barbara & Richard S. Lane. Courtesy of the artist and Metro Pictures, New York © 2019 Cindy ShermanWhen asked if she considers her works to be self-portraits Sherman has said: ‘Technically, maybe they are, but I don’t see these characters as myself’. Indeed it is our imagined selves, fabled narratives, vanity and vulnerability that we locate in her works, familiar and disconcerting. The scenography of the exhibition designed by architect Marco Palmieri amplifies this, with mirrors placed along the exhibition path and a sequence of circular spaces surrounding each of the artist’s series, enveloping the viewers as if they were facing a multi-faceted vanity mirror. The colour palette also is derived from the shades the artist uses as make-up: bright yellow from her eyeshadow, deep pink from a lipstick.