北京

Tobias Rehberger
《Blind and a little less》

2019年5月25日 - 8月11日
开幕式:2019年5月25日,星期六,下午4点到6点半


 

 



Tobias Rehberger
Blind a little less


2019

麦勒画廊北京部荣幸地宣布,我们即将举办艺术家Tobias Rehberger的最新个展“Blind and a little less”,这也是他继2014 年个展“Das Kind muss raus生”之后在麦勒画廊北京举办的第二次个展。今年春季,Tobias Rehberger在上海外滩美术馆 举办了大型个展“如果你的眼睛不用来看,就会用来哭”(3月23日–5月26日)。展览“Blind and a little less”是对其在上海个展 的延续,以其为起点并进一步挖掘出现有的主题和系列作品。展览主要包括四个部分,第一部分展出其持续创作的“花瓶肖像”系列 (1997–2019);第二部分展出的是其全新的一组貌似太阳的玻璃灯(2019)以及来自其持续创作的“Infection”(2002–2019)系列 中的16个灯;第三部分包括四个大尺幅像素块组成的场景作品(2019);第四部分是其最新创作的LED作品(2019)以及若干水 彩绘画(2019)。此次展出的作品涵盖诸多媒介,艺术家再次模糊了观念艺术、雕塑、室内设计和建筑之间的边界。

第一个展览空间里的花瓶和鲜花是艺术家和朋友及其所认识的人共同创作的“肖像”作品,生动地再现了被塑像者,却又不拘泥于形象本身。花瓶的形态和材质各不相同,包括玻璃、瓷、塑料、3D打印的铝和毛毡。就像朋友和社交场合相遇的人,有很多元素是永 恒的(比如花瓶),还有很多是短暂即逝的(比如鲜花,它们终将枯萎、被替换,虽然是被同样的花替换)。这些花瓶肖像是为麦勒 画廊代理的其中九位艺术家量身打造的,他们受邀选择喜欢的鲜花并与Tobias Rehberger设计的花瓶组合在一起,完成了各自 的肖像。这些肖像形成了历史、关系和影响力的矩阵,还有气味!展厅里弥漫着鲜花的气晕,花粉飘散于空中,甚至让观众打喷嚏, 异花传粉因而变得更具艺术性,并揉杂着观众的过敏反应。

在第二个展览空间的左侧悬挂了一系列形似太阳般的玻璃球,每个都与遥远地球某一角落的浪漫海滩相连。这五盏灯的标题则分 别是这些海滩的名称,每一盏灯都被特意编程为根据当地太阳升起和降落的时间自动开启和关闭,并以100年为时间轴计算。这一系列作品突显了Rehberger作品中一贯有的矛盾,即浪漫主题和科技运用的叠置。在空间的左侧仿佛漂浮着一组线条流畅的弯曲彩色魔术贴枝形吊灯。“Infection”系列始于2002年,最初是由Tobias Rehberger助手进行创作。后来Tobias Rehberger在 未增加任何材料的前提下运用“被操控的偶然”和“延迟的创作”的手法融入了自己的艺术编辑和演绎。这些枝形吊灯里蕴含着某种“ 轻度干预”,这些雕塑点亮空间的同时也让我们的认知焕然一新。雕塑通常被认为是空间里的物体,但是这些作品散发着亮光,这种亮光源自颜色在空气中的扭转,二维的彩色织带转化成三维立体空间,重力和材料之间的张力使其得以呈现出弯曲流转的形态。当然,它们包裹着电线,使吊灯得以发光——每一个元素都与其他元素的存在相关联 。

第三个展览空间或许最能诠释此次展览的标题。首先,当观众意识到作品的巧妙之处时,会发现这些像素化的画面颇具童真童趣, 好似小秘密被拆穿。当观众停留下来,眯缝双眼、歪着脑袋并试图从照相机的镜头里过滤图像、对加密图像进行解码的时候,这些极为抽象的瓷砖图案方能显现出来。观众眼前瞬间呈现出这些彩色的图案,仿佛他们没之前那么抓瞎。六个嵌在墙面的架子被巧妙地隐蔽于作品之中,而这也恰恰是Tobias Rehberger的艺术实践的常见技法——他喜欢模糊可见与不可见之物的界限,最终质疑艺术的本质:艺术究竟是被直接用来观看的?抑或是用来感受的(这种感受指代更为宽泛的层面)?

第四个展览空间展出的是一系列水彩作品,以及两件全新的LED作品,作品模仿了闪烁的广告牌的喜好。但是我们所熟悉的商业 标语在此被替换成了两条相对立的谚语,这些谚语往往蕴含着真理(就像虚构的人物匹诺曹):“everything/nothing happens for a reason”(译文:万事皆有因/万事皆无因)。随着灯管闪烁,人们将交替看到“very happea”和“not happea”。沉浸于斑斓 的灯光中,观众会不由自主地从另一个角度去审视其社会的商业价值和道德价值。该展览空间里的水彩作品呈现的全部都是香烟 头在吃了一半的食物餐盘中被碾碎的画面,同样也是在引导观众反思社会准则及日常社会互动。

Tobias Rehberger(1966年生于德国埃斯林根),现生活和工作于法兰克福,自2001年以来担任法兰克福史泰德学 院 (Städelschule) 教授 。 其个展和项目包括: “如果你的眼睛不用来看,就会用来哭”,上海外滩美术馆(2019); “ Yourself is sometimes a place to call your own”,韩国釜山现代美术馆(2018);“24 Stops”, 瑞士巴塞尔贝耶勒基金会博物馆 (2016); “Home and Away and Outside”, 德国法兰克福锡恩美术馆(2014);“Tobias Rehberger: Wrap it up”,意大利罗马MACRO当代艺术博物馆(2014);“Dazzle Ship London”,英国伦敦泰晤士河(2012);“When I See the Other Side of Heaven, It Is Just as Blue”(委托创作),韩国首尔三星美术馆(2012);“Nest”(委托创作),英国伦敦Bloomberg SPACE(2012);“Tobias Rehberger”, 意大利罗马MAXXI国立二十一世纪艺术博物馆(2010);“The Chicken-and-Egg-No-Problem Wall-Painting”,荷兰阿姆斯特丹市立博物馆(2008); “On Otto”,意大利米兰Prada基金会(2007); “Get a New Liver”, 英国泰特利物浦美术馆(2006); “Private Matters”, 英国伦敦Whitechapel画廊(2004);“Night Shift”, 法国巴黎东京宫(2002);以及“The Sun from Above”,美国芝加哥当代艺术博物馆(2000)。2009年,Rehberger 获得威尼斯双年展金狮奖最佳艺术家。

以上文章节选自墨虎恺为Tobias Rehberger在外滩美术馆的个展“如果你的眼睛不用来看,就会用来哭”以及在麦勒画廊北京 的个展“Blind and a little less”撰写的文章。墨虎恺,艺术史学家、评论家,《燃点》杂志联合创始人。他于2010至2018年期间担任《燃点》杂志出版人。随后加入一个新的策展咨询机构NRM 。墨虎恺现在仍然是《燃点》的撰稿人,也是2014年由德国Distanz出版社出版的艺术家徐震个人专著的编辑。

卢森

张雪瑞
《作为本体的日常》

2019年6月6日 - 7月27日27
开幕式:星期四,2019年6月6日,下午5点半到7点半


张雪瑞

400 201805 - 1 & 400 201805 - 2,2018
布面丙烯
2x 240 x 240 cm

 



张雪瑞
作为本体的日常

 

2019 (英文) 

 

Galerie Urs Meile Beijing is pleased to announce The Everyday as Ontology, the first solo exhibition of Chinese artist Zhang Xuerui (*1979, lives and works in Beijing) at our gallery. The exhibition will present Zhang Xuerui's most recent paintings combined with her textile installations. Her paintings are often quick categorized as "abstract painting". It seems like a simple task to understand her works. An experienced viewer could be able to discern her methodologies quickly, which is to strictly divide the canvas into an orderly grid, and to fill the units in that grid with gradually shifting colors. People often classify her works as part of one of the various art trends of Western contemporary art, such as post-painterly abstraction, hard edge abstraction, minimalism, however, it would be a too cursory decision. If abstraction in Western art has clear conceptual pursuits within the art history context, then in comparison, not only has "abstraction" not formed into a specific art history narrative in China, it is actually a style that stretches back into ancient times, from folk decorations to literati calligraphy and imperial ornamentation. In ancient Chinese tradition, "abstraction" is an established fact, an everyday aesthetic, and for that reason, there never arose a need for discourse, nor did there ever form a corresponding set of critical concepts.

For the artists of Zhang Xuerui's generation, the visual resources of Western contemporary art have appeared before them in a fragmentary form. Abstraction is merely one of the many styles available to reference. In Zhang Xuerui's case, she has her own special content and meaning behind her "abstraction." She majored in architecture, which has to some extent influenced her precise grid style and sophisticated painting method: once she has begun to paint, she must continue until she finishes one row of the grid, as the adjoining colors in the gradient must be completed while the paint is still wet. Zhang Xuerui's approach also encompasses a process of aestheticization of everyday time and the labor of the body; time and labor have been marked down in each single individual square of the grid to become subjects of self-reflection and contemplation. For her, the grid approach to painting also evokes the experience of practicing calligraphy using square guidelines. The structure of her paintings is just like the calligraphy practice books from her childhood, using squares as their fundamental units.

Zhang Xuerui often starts with three corners of the painting, deciding the colors of these three squares. Her next task is to then form a virtually undetectable transition between them. For this reason, by the time she begins the color gradient component, the tones or the order of the colors is no longer the most important task. This is especially the case when she focuses her attention within a single grid. Within this one isolated unit, the act of painting, and the control of the body's movements, form an immersive experience. In addition, the highly compressed color contrasts of the neighboring squares focus our attention on the finest color perceptions, while our judgment of the whole is temporarily suspended, which is to say that the viewing of the painting has, just like the act of painting itself, entered into a linear (temporal) experience. In this sense, Zhang Xuerui's painting touches on the sense of the everyday we all inhabit, magnifying a detail, or extending a moment, concentrating on a single shaft of bamboo while ignoring the forest around it.

One meaningful detail is that in a given period, the individual squares in her grids will all be virtually the same size, regardless of the dimensions of the canvas. In other words, the wholes of her artworks do not precede the parts. She does not predetermine such metaphysical concepts as wholeness or completeness, and metaphysical properties are usually typical markers of Western modernist abstraction. All of her chosen colors are compound colors, colors closer to the actual appearance of nature. In her most moving paintings, the gradient color fields present us with the colors of the sky, as if they are records of daylight over time, as well as a salute to a day's labor in the studio, just as her artworks are named only by the time they were completed.

In analyzing and discussing Zhang Xuerui's paintings, we should not overlook her textile works, which form a corresponding clue to her paintings. In these works, she often cuts out patterns on blankets or clothing-sometimes flowers, sometimes hearts, sometimes circles-then rearranges and affixes them together in a new layout that often resembles an abstract painting. These artworks more clearly reveal her close examination of everyday life experience: this items are often something once worn or used by herself or her family members which bear loads of her individual memories and experiences. For Zhang Xuerui, art is not the opposite of life, on-canvas art is not the opposite of off-canvas art, abstraction is not the opposite of representation, and contemporary is not the opposite of tradition. For this reason, we have no need to distinguish between her art and her life. When she has labored on her painting for a day, she has lived for a day. Life and art are both passing the days, with perceptible time as its ontology.

(The above text includes excerpts from Bao Dong's essay The Everyday as Ontology - Everyday Time in the Painting of Zhang Xuerui written for this exhibition.)