West Bund Art & Design 2019

West Bund Art & Design 2019

November 6 – 16, 2019
Closing in

Launching to coincide with West Bund Art & Design 2019, Esther Schipper is pleased to present the West Bund Online Viewing Room: a digital presentation of the works that will be on view at the fair.


Among the artists represented here are: Martin Boyce, Matti Braun, Angela Bulloch, Nathan Carter, Simon Fujiwara, Ryan Gander, The Estate of General Idea, Liam Gillick, Grönlund-Nisunen, Pierre Huyghe, Ann Veronica Janssens, Ugo Rondinone, Tomás Saraceno, and Tao Hui.


The selection of new and major works is drawn from the gallery's recent exhibition program, while also relating to our artists' 2018-19 institutional exhibitions, including Angela Bulloch at MAAT, Lisbon, Ryan Gander at Kunsthalle Bern, Pierre Huyghe at Serpentine Galleries, London, Tomás Saraceno at Palais de Tokyo, Paris, and Simon Fujiwara at Kunsthaus Bregenz. 

 

施博尔画廊非常高兴地在2019年西岸艺术设计博览会展览同期推出"西岸线上展示厅",令您可以通过数码方式浏览我们在博览会上展出的作品。

参加展览的艺术家包括:马丁·博伊斯、马蒂·布豪恩、安吉拉·布洛克、内森·卡特、藤原西芒、瑞安·甘德、普遍概念、利亚姆·吉利克、格罗伦德与尼苏能、皮埃尔·于热、安·维罗妮卡·詹森斯、乌戈·罗迪纳、托马斯·萨拉切诺和陶辉。

 

对于全新及重要作品的选择均与画廊的近期展览计划密切相关,同时也呼应了我们的艺术家于2018-19年度所参与的机构展览,包括安吉拉·布洛克在里斯本的MAAT、瑞安·甘德在伯恩美术馆、皮埃尔·于热在伦敦蛇形画廊、托马斯·萨拉切诺在巴黎东京宫和藤原西芒在布雷根茨美术馆的展览。

  • Ugo Rondinone in his Harlem studio, New York. Photo © Jason Schmidt
    Ugo Rondinone in his Harlem studio, New York. Photo © Jason Schmidt
    • Ugo Rondinone zweiteraprilzweitausendundsiebzehn, 2017 Oil on burlap 341 x 401 cm 乌戈·罗迪纳 《二零一七年四月二号》,2017 麻布油画 341 x 401 cm
      Ugo Rondinone
      zweiteraprilzweitausendundsiebzehn, 2017

      Oil on burlap
      341 x 401 cm

       

      乌戈·罗迪纳

      《二零一七年四月二号》,2017
      麻布油画
      341 x 401 cm

    乌戈·罗迪纳(1964年生)作品同时参照自然世界、浪漫主义和存在主义,包含了一种“精神三位一体”,这是他过去三十多年来作品的精髓。

     

    《二零一七年四月二号》以作品完成之日的德语命名,是一件极为朴素的作品。乌戈·罗迪纳使用公认的砖墙图像,创作了穿越雕塑和绘画边界的作品。

     

     

    Referring concurrently to the natural world, romanticism and existentialism, the works of Ugo Rondinone (b. 1964) encapsulate a “mental trinity” that has underpinned his art for thirty years.

     

    Taking the universally recognized motif of a brick wall as a point of departure, Ugo Rondinone's large scale zweiteraprilzweitausendundsiebzehn traverses the boundary between sculpture and painting.

     

    The work presents a pattern of horizontal rectangles—a visual shorthand for a brick wall. The oil paint has been applied with thick, robust brush strokes, while the edges of the painted “wall” have been left casually unfinished so that glimpses of the rough burlap underlayer can be seen.

  • Ugo Rondinone, zweiteraprilzweitausendundsiebzehn, 2017 (detail). Oil on burlap, 341 x 401 cm. Photo © Studio Rondinone
  • 该雕塑是用青石凿成的。五块石头相互叠放以形成人体的基本形状 — 腿、腰、躯干和头部。石头的粗糙边缘是采石场出品的结果,未经修饰。

     

    《抛光的》作品是乌戈·罗迪纳于2013年发起的“人性”作品的一部分:九件纪念性雕塑作为公共艺术基金项目的一部分,安装在纽约洛克菲勒广场上。在进一步的发展中,艺术家创造了具有相同图案的小型版本,将这件作品立于人类祖先的雕塑传统之中,其中包括旧石器时代的维纳斯雕像、基克拉迪大理石雕像、巨石阵或是加拿大因纽特人建造的因努伊特石堆。

     

     

    The sculpture is made of hewn bluestone. Five blocks have been stacked atop one another to form the basic shape of a human body—legs, waist, torso, and head. The stones, whose rough edges result of the quarry work, have not been modified.

     

    the polished is part of body of work initiated by Ugo Rondinone in 2013 with Human Nature: nine monumental sculptures installed on the Rockefeller Plaza in New York, as part of the Public Art Fund project. In a further development, the artist created smaller iterations of the same motif, inscribing this body of work in an ancestral sculptural tradition that includes Palaeolithic Venus representations, Cycladic marble figurines, Stonehenge, or the Inukshuk stone cairns built by the Inuit in Canada.

  • Anima Vectorias, Angela Bulloch’s new installation at MAAT, activates the Oval Gallery with an extraordinary and immersive multilayered 17 channel soundscape. The project will include a set of new video works, integrating multiple projections, virtual reality, avatars, and 3D animations. The exhibition also includes some of the artist’s most iconic works, such as her geometrical stacked columns and wall paintings, and other artistic practices linked to concepts of consciousness and perception.

    • Angela Bulloch Five Form Stack: Blinky Copper, 2019 MDF, paint Approx. 150 x 50 x 30 cm 安吉拉·布洛克 《五形堆栈:闪铜》,2019年 绘面中密度纤维板 整体尺寸大约 150 x 50 x 30 cm
      Angela Bulloch
      Five Form Stack: Blinky Copper, 2019

      MDF, paint
      Approx. 150 x 50 x 30 cm

       

      安吉拉·布洛克

      《五形堆栈:闪铜》,2019年
      绘面中密度纤维板
      整体尺寸大约 150 x 50 x 30 cm

    安吉拉·布洛克(生于1966年)的作品涉及多种媒介,表现出她对系统、模式和规则的兴趣,以及她对形状和人类互动历史的关注。

     

    该作品由五个叫做多面体的组合几何图形组成。艺术家正在进行的“堆栈 Stacks”系列探讨了凸多面体结构所形成的连接 以及它们与色彩和画廊空间之间的关联。

     

     

    The work of Angela Bulloch (b. 1966) spans many media, manifesting her interest in systems, patterns and rules, as well as her preoccupation with the history of shapes and human interaction.

     

    The work consists of five assembled geometrical figures known as polyhedra. Angela Bulloch’s ongoing series of sculptures examines the connections formed by the convex polyhedra of their structure, together with their associations of colors and the gallery space. 

    • Angela Bulloch OMG, 2019 Latex paint Variable (200 x 220 cm approx.) 安吉拉·布洛克 《OMG》,2019年 乳胶漆画 尺寸可变,大约2 x 2,2 m
      Angela Bulloch
      OMG, 2019

      Latex paint
      Variable (200 x 220 cm approx.)

       

      安吉拉·布洛克
      《OMG》,2019年

      乳胶漆画

      尺寸可变,大约2 x 2,2 m

    • Angela Bulloch Four Form Stack: Golden Copper, 2019 MDF, paint Approx. 120 x 50 x 30 cm 安吉拉·布洛克 《五形堆栈:闪铜》,2019年 绘面中密度纤维板 整体尺寸大约150 x 50 x 30 cm
      Angela Bulloch
      Four Form Stack: Golden Copper, 2019

      MDF, paint
      Approx. 120 x 50 x 30 cm

       

      安吉拉·布洛克
      《五形堆栈:闪铜》,2019年
      绘面中密度纤维板
      整体尺寸大约150 x 50 x 30 cm

    • Ann Veronica Janssens Golden Dream, 2010-2015 Glass, paraffin oil, fluo serigraph, wooden base 60 x 60 x 60 cm (vitrine), 60 x 60 x 60 cm (base), 120 x 60 x 60 cm (overall) 安·维罗妮卡·詹森斯 《金梦》,2010-15年 玻璃、石蜡油、荧光绢印、木制底座 60 x 60 x 60厘米(玻璃罩),60 x 60 x 60厘米(底座),120 x 60 x 60厘米(整体) 独版
      Ann Veronica Janssens
      Golden Dream, 2010-2015

      Glass, paraffin oil, fluo serigraph, wooden base
      60 x 60 x 60 cm (vitrine), 60 x 60 x 60 cm (base), 120 x 60 x 60 cm (overall)

       

      安·维罗妮卡·詹森斯
      《金梦》,2010-15年
      玻璃、石蜡油、荧光绢印、木制底座
      60 x 60 x 60厘米(玻璃罩),60 x 60 x 60厘米(底座),120 x 60 x 60厘米(整体)
      独版

    安·维罗妮卡·詹森斯(生于1956年) 展现人体对世界及其自身的感知。 她经常使用光、自然光学现象或玻璃作为媒介。她精心制作的作品给人极其简洁的印象,却令人生动地体验到观看这一行为,令个人更强烈地感知到改变和流动等概念。

     

    该作品由一个放在灰色基座上的玻璃容器组成,约三分之二的部分装有石蜡油。从侧面观察时,除了厚玻璃产生的淡绿色调外,液体是无色透明的。 当人们接近或在作品周围移动时,油的表面则呈现出是金色的。

     

     

    Ann Veronica Janssens’ (b. 1956) work foregrounds the body’s perception of the world and itself in it. She often uses light, natural optical phenomena or glass as medium. Produced with great care, her works exude the impression of great simplicity yet create vivid experiences of the act of seeing, evoking a heightened awareness of the changeability and fleetingness of individual perceptions.

     

    The work consists of a glass tank placed on a grey pedestal that is about two-thirds filled with paraffin oil. Except for the very light greenish tint created by the thick glass, the liquid is colorless and transparent when viewed from the side. As one approaches the work or moves around it, the surface of the oil appears to be golden.

  • Exhibition view: Simon Fujiwara, Hope House, Kunsthaus Bregenz, 2018. Photo © Andrea Rossetti

    • Simon Fujiwara Anne Frank's Birthday Cake, 2018 Wooden panel with custom-made model of a cake, flowers, vintage kitchen- and tableware (kettle, metal plate, tea towels, cake server, two knives, two forks), photographic equipment (camera, tripod, lights, soft-box light diffusers, light reflector, stands), LCD monitors Dimensions variable 藤原西芒 《安妮·弗兰克的生日蛋糕》,2018年 带有蛋糕、鲜花、老式厨房和餐具(水壶,金属板,茶巾,蛋糕服务器,两把刀,两把叉子)的定制模型的木制面板,摄影器材(相机,三脚架,灯,柔光箱、 漫射器,反光器,支架),液晶显示器 尺寸可变 1版
      Simon Fujiwara
      Anne Frank's Birthday Cake, 2018

      Wooden panel with custom-made model of a cake, flowers, vintage kitchen- and tableware (kettle, metal plate, tea towels, cake server, two knives, two forks), photographic equipment (camera, tripod, lights, soft-box light diffusers, light reflector, stands), LCD monitors
      Dimensions variable

       

      藤原西芒
      《安妮·弗兰克的生日蛋糕》,2018年
      带有蛋糕、鲜花、老式厨房和餐具(水壶,金属板,茶巾,蛋糕服务器,两把刀,两把叉子)的定制模型的木制面板,摄影器材(相机,三脚架,灯,柔光箱、 漫射器,反光器,支架),液晶显示器
      尺寸可变
      1版

    藤原西芒(生于1982年),在过去的十几年里,因其规模庞大、内容复杂、剧场式的展览而名声在外。这些展览探讨了根深蒂固的身份建构机制,同时涉及到个人与社会层面。

     

    该作品是为藤原在布雷根茨美术馆举办的大型展览《希望之家》所创作的,结合了安妮·弗兰克的日记以及对当代社交媒体和图像实践的考察。该作品将蛋糕模型展示在桌子上,并由照相机、照明灯和监视器包围,可以在上面看到蛋糕的图像。一小束鲜花是指安妮·弗兰克生日那天收到的那束鲜花。

     

    生日蛋糕是作为安妮·弗兰克生日蛋糕可能拥有的图像而创建的。艺术家以1940年代蛋糕为模型,但也将其与食品摄影中的某些新趋势相匹配,这些趋势围绕自然奢侈的概念,通常的博主和食品设计师经常选择“不起眼”的自制产品、不加处理的展示食物。

     

    展示食物中的这种谦卑是为了“现实”,而要展示这种看似自然的奢华,则需要大量的技术和工作。对艺术家来说,这代表了某种反常的比喻:它也符合战时的审美观,因为配给和短缺,天然、不起眼的产品是唯一的选择。

     

    Over the past decade, Simon Fujiwara (b. 1982) has become known for his staging of large, complex exhibitions that explore the deeply rooted mechanisms of identity construction for both individuals and societies.

     

    The work—conceived for Hope House, Fujiwara’s large-scale exhibition at Kunsthaus Bregenz—combines references to Anne Frank’s Diary and an examination of contemporary social media and image practices. The work presents the model of a cake on a table, surrounded by a camera, lights, and monitors on which images of the cake can be seen. A small bouquet of flowers refers to the ones received by Anne Frank on her birthday.

     

    The birthday cake was created as an image one might have of the cake Anne Frank might have had as a birthday cake. The artist modeled it on what might plausibly be a cake in the 1940s, but also to match it to certain new trends in food photography that center around the notion of natural luxury, where often bloggers and food stylists opt for ‘humble’ homemade and unpolished presentations of food.

    • Pierre Huyghe Timekeeper (Drill Core), Serpentine, 2019 Paint layers, plasterboard ø 70 x 3 cm 皮埃尔·于热 《计时器(钻芯),蛇形画廊》,2019 油漆层、石膏板 ø 70 x 3厘米
      Pierre Huyghe
      Timekeeper (Drill Core), Serpentine, 2019

      Paint layers, plasterboard
      ø 70 x 3 cm

       

      皮埃尔·于热
      《计时器(钻芯),蛇形画廊》,2019
      油漆层、石膏板
      ø 70 x 3厘米

    皮埃尔·于热(生于1962年)的创作涵盖了多种媒介,包括现场、电影、物品和绘画。他的展览是个活着的有机体,其中相互依存的、生物和非生物的、真实和象征性的代理机制共同发展。

     

    《计时器(钻芯),蛇形画廊》是为于热在伦敦蛇形画廊的2018年个展之际所创作。为了这件仅在展览期间存在的作品,于热在展览空间的白色墙壁上打磨了一段与眼睛平齐的部分,以揭露先前展览留下的涂漆层。通过使用圆形的电动砂光机,旧的油漆涂层呈现出彩色的同心圆环,让人联想到树木的年轮。 该作品有效地描绘了该机构的活动:在打磨的圆形区域较浅的外部,可以看到最近的油漆层,而位于中心下方的油漆则被覆盖的时间最长。

     

     

     

    Pierre Huyghe’s (b. 1962) practice spans many media, including live situations, films, objects and drawings. His exhibitions are living organisms, in which interdependent, biotic and abiotic, real and symbolic agents – animals, humans, machines—are co-evolving.

     

    Timekeeper (Drill Core), Serpentine was produced on occasion of UUmwelt, Huyghe’s 2018 solo exhibition at the Serpentine Galleries, London. For this work, Huyghe sanded down an eye-level section of a white wall in the exhibition space to uncover the layers of paint left by previous exhibitions. By using an electrical circular sander, the older coats of paint were revealed in colorful concentric rings, reminiscent of the growth rings of a tree. The work effectively became a portrait of the institution’s activities: on the shallower outside of the sanded down circular area more recently painted layers could be seen, while the paint revealed further down at the center had been covered the longest.

  • Exhibition view: Tao Hui, New Directions, UCCA, Beijing, 2015. Photo © UCCA
    • Tao Hui The Acting Tutorial, 2014 Fine Art Inkjet print on Hahnemühle Photo Rag Baryta paper mounted on Alu-Dibond 93,1 x 120 cm 陶辉 《表演教程》(2014年) 在哈内姆勒摄影纯棉硫化钡纸上的美术喷墨打印,装裱在铝制复合板上 93.1 x 120厘米 10版
      Tao Hui
      The Acting Tutorial, 2014

      Fine Art Inkjet print on Hahnemühle Photo Rag Baryta paper mounted on Alu-Dibond
      93,1 x 120 cm

       

      陶辉

      《表演教程》(2014年)
      在哈内姆勒摄影纯棉硫化钡纸上的美术喷墨打印,装裱在铝制复合板上
      93.1 x 120厘米
      10版

    陶辉(1987年生于重庆云阳)以沉浸式视频装置创作为主,突破了虚构和现实的界限,主注与文化和身份相关的话题。他的作品具有本能性和挑衅性,同时与人以启迪,经常伴随强烈的情感力量以及一种流离失所之感,带领观众直面自己的文化历史、生活方式以及社会身份。

    《表演教程》描绘了陶辉同名电影中的一幕。这里显示的是在课程进行的空白空间中的十三位女演员及其老师。影片制作过程中拍摄的黑白照片为场景增添了一定的风格感——影片是用彩色拍摄的,并且具有模拟的、非常规的美感——但仍然传达了这一堂中的情感张力。这部电影具有指向自身制作的自我参照元素,带照相机和录音设备的人们围着主人公们,然而却在照片中并见不到。

     

     

    Tao Hui (b. 1987 in Yunyang, Chongqing) creates immersive video-installations that bend the boundaries of fiction and reality to address cultural and identity-related issues. His works are visceral and provocative, yet enlightening and always imbued with strong emotional power and a sense of displacement, inviting the viewers to confront themselves with their own cultural history, ways of living and social identities.

    The Acting Tutorial depicts a scene from Tao Hui's film of the same name. Shown here are the thirteen actresses and their teacher in the bare space in which their lesson is taking place. The black and white photograph taken during the production of the film adds a level of stylization to the scene—the film was shot in color and had a mock-amateurish aesthetic—yet still conveys the emotional charge of the session. The film includes self-referential elements of its own production, men with cameras and sound recording equipment circling the protagonists, which are absent from the photograph.

    • Tao Hui The Dusk of Teheran, 2014 Fine Art Inkjet print on Hahnemühle Photo Rag Ultrasmooth paper 30 x 45 cm (unframed) 43,6 x 58,6 x 2 cm (framed) 陶辉 《德黑兰黄昏》(2014年) 在哈内姆勒摄影纯棉硫化钡纸上的美术喷墨打印 30 x 45 cm(无框) 43.6 x 58.6 x 2 cm(连框)
      Tao Hui
      The Dusk of Teheran, 2014

      Fine Art Inkjet print on Hahnemühle Photo Rag Ultrasmooth paper
      30 x 45 cm (unframed)
      43,6 x 58,6 x 2 cm (framed)

       

      陶辉
      《德黑兰黄昏》(2014年)
      在哈内姆勒摄影纯棉硫化钡纸上的美术喷墨打印
      30 x 45 cm(无框)
      43.6 x 58.6 x 2 cm(连框)

       

    照片取自陶辉同名电影。是在电影制作过程中,重新拍摄中央场景时拍摄的。

     

    陶辉的视频《德黑兰的黄昏》是在德黑兰进行艺术家驻留期间拍摄的。其中将已故香港流行歌手梅艳芳令人心碎的演讲转化为一位年轻的伊朗女演员与她的出租车司机之间的对话。

     

    与西岸艺术与设计博览会同时,上海chi K11美术馆的群展《光影如网》(2019年11月8日至12月13日)中展出陶辉作品《屏幕作为展示主体》。

     

    《屏幕作为展示主体》,由安装在手推车上的四个LED屏幕组成。每个展示一种颜色:红色、蓝色、绿色和白色。该作品涉及用于电视图像显示的RGB颜色模型,其中将红色、绿色和蓝色以各种方式组合,以再现各种各样的颜色。

     

     

    The photograph draws on Tao Hui's film of the same name. Restaging the central scene, it was taken during the production of the film.

     

    Tao Hui's video The Dusk of Teheran was shot during an artist a residency in Tehran. It transposes a heart-rending speech given by the late Hong Kong pop singer Anita Mui into a conversation between a young Iranian actress and her taxi driver.

  • Tao Hui, Screen as Display Body, 2019. Photo © Andrea Rossetti

    Concurrent to West Bund Art & Design, chi K11 Art Museum, Shanghai, presents Tao Hui's Screen as Display Body as part of their group exhibition NOWNESS Experiments: The Mesh (November 8 – December 13, 2019).

     

    Screen as Display Body consists of four LED screens mounted on a trolley. Each broadcasts a single color: red, blue, green, and white. The work refers to the RGB color model, used for image display in TVs, in which red, green and blue are combined in various ways to reproduce a wide array of colors.

    • Tomás Saraceno Zonal Harmonic 2N 95/11, 2019 Powder-coated stainless steel, polyester rope, fishing line 74 x 95 x 95 cm 托马斯·萨拉切诺 《区域谐波2N 95/11》(2019年) 粉末涂层不锈钢、聚酯绳、钓鱼线 74 x 95 x 95 cm
      Tomás Saraceno
      Zonal Harmonic 2N 95/11, 2019

      Powder-coated stainless steel, polyester rope, fishing line
      74 x 95 x 95 cm

       

      托马斯·萨拉切诺
      《区域谐波2N 95/11》(2019年)
      粉末涂层不锈钢、聚酯绳、钓鱼线
      74 x 95 x 95 cm

    托马斯·萨拉切诺(1973年)以想像未来空中生活的极富远见的项目而闻 名,灵感源自肥皂泡、蜘蛛网、细胞状结构和天文图像等型态。

     

    这件作品极富想象力地描绘了围绕一个中心(天)体的轨道。 将精致的金属杆弯曲成不同直径的圆,并由细线连接以保持张力,类似于动态雕塑,它们各自的重量使各部分保持平衡。 空心圆和椭圆形围绕着由细黑线编织的中央多边形而置。

     
    区域谐波系列凸显了天文学技术和宇宙学主题对于托马斯·萨拉切诺的大型项目的重要性。

     

     

    Tomás Saraceno (b. 1973) is renowned for his visionary projects that envision a future airborne life, inspired by the morphology of soap bubbles, spider webs, cellular structures, and astronomical diagrams.

     

    The work imaginatively depicts orbits around a central (celestial) object. Delicate metal rods, curved to create circles of different diameters are held by fine threads in such a way that their respective weight holds the elements in balance.

     

    The Zonal Harmonic series highlights the importance of astronomy and cosmology for Saraceno’s larger projects.

  • Exhibition view: Martin Boyce, The Light Pours Out, Esther Schipper, Berlin, 2018. Photo © Andrea Rossetti

  • 马丁·博伊斯(生于1967年)重新创作并再现了标志性设计作品,通过在对设计、建筑和城市规划的形式与概念历史的解读基础上,开发了自己的图画语言。

     

    这些作品为其2018年在画廊的个展《光倾泻而出》而构思,来自彩色多孔钢板制成的系列,其中包括了由链条和小灯笼组成的元素。通过油漆和墨染后的单色面板发出光泽。色彩具有水墨或水彩的流动性,使穿孔表面显现出精致的层叠图案。博伊斯对中国艺术的具有浓厚的兴趣,在这个前提下,其作品让人联想到中国山水画的特色构图。附加的灯笼和链条加强了这种联想,这是博伊斯作品中反复出现的主题,金属灯笼既指传统的中国灯具形状,也暗指了他与马特尔兄弟的作品“树木”的接触。雕塑元素的稀疏与图像主题之间的张力平衡,进一步呼应了中国和日本传统绘画的风格。

     

     

    Martin Boyce (b. 1967) has reworked and reformulated iconic design objects, developing his own pictorial language based on a reading of the formal and conceptual histories of design, architecture and urban planning.

     

    Conceived for The Light Pours Out, Martin Boyce’s 2018 solo exhibition at the gallery, the work is from a series made from colored perforated steel panels with elements consisting of chains and small lanterns. Painted and stained, the monochromatic panels have a luminous quality. The color has a fluidity reminiscent of ink or watercolor, staining the perforated surface with delicate cascading pattern.

  • Exhibition view: General Idea, Broken Time, Museo de Arte Latinoamericano de Buenos Aires, 2017. Photo © Andrea Rossetti
    • General Idea Great AIDS (Cadmium Red Medium), 1990/2019 Acrylic on linen 300 x 300 cm 普遍概念 《伟大的艾滋(镉红中)》,1990/2019年 麻布丙烯 300 x 300 cm
      General Idea
      Great AIDS (Cadmium Red Medium), 1990/2019

      Acrylic on linen
      300 x 300 cm

       

      普遍概念
      《伟大的艾滋(镉红中)》,1990/2019年
      麻布丙烯
      300 x 300 cm

    历时25周年的加拿大艺术团体“普遍概念”由三位艺术家AA·布朗森(AA Bronson,曾用名Michael Tims,1946生),菲利克斯·帕兹(Felix Partz,曾用名Ronald Gabe,1945-1994)、乔治·宗塔勒(Jorge Zontal,曾用名Slobodan Saia-Levi,1944-1994)于1969年共同创立,在他们漫长的职业生涯中,曾以各种媒体和形式制作了一系列重要作品,这些作品为世界各地的艺术家提供了参考意义。

    为回应1987年慈善邀请以艺术创作抗击艾滋病,“普遍概念”采用了罗伯特·印第安纳广为人知的《LOVE》(1965)的颜色和叠加字母设计,重新设计为《艾滋病》。

     

     

    Throughout its 25-year-long career, prominent Canadian artists’ group General Idea—formed in 1969 by AA Bronson (b. Michael Tims, 1946), Felix Partz (b. Ronald Gabe, 1945-1994) and Jorge Zontal (b. Slobodan Saia-Levi, 1944-1994)—produced an important body of work in various media and formats, which continues to be a reference point for generations of artists around the world.

     

    In response to an invitation to create works for the Art against AIDS benefit in 1987, General Idea appropriated the colors and stacked letter design of Robert Indiana’s widely quoted LOVE (1965), re-configuring it to read “AIDS.”

  • Exhibition view: Ryan Gander, The 500 Million Year Collaboration, Kunsthalle Bern, 2019. Photo © Gunnar Meier

    • Ryan Gander Agent of Absence, 2019 LED holographic display 43 x 43 x 9 cm 瑞安·甘德 《缺席代理人》,2019 LED全息显示屏 43 x 43 x 9 cm
      Ryan Gander
      Agent of Absence, 2019

      LED holographic display
      43 x 43 x 9 cm

       

      瑞安·甘德
      《缺席代理人》,2019
      LED全息显示屏
      43 x 43 x 9 cm

    瑞安·甘德(生于1976年)的作品令人联想起虚构的空间、机构和人物。他的创作风格极为多元,贯穿其中的更多地是他的概念性眼界而非形式外观。


    该作品由一个LED条形显示屏组成,显示屏不断旋转以创造循环动画,类似于水枪的全息投影,看上去像是悬浮在空中。玩具前面是电脑游戏中的捡拾物体的动作命令,就像人们在虚拟游戏中所见到的那样。

     

     

    The work of Ryan Gander (b. 1976) evokes fictional spaces, institutions, and figures. His practice is extremely varied, unified more by a conceptual vision than by formal appearance.

     

    The work consists of an LED strip display, which spins to create a looped animation that resembles a holographic projection of a water pistol, seeming to hover in mid-air. In front of the toy is the video game action command to pick up the object, as one might expect to see in virtual gameplay.

    • Liam Gillick Suspended Collapse, 2015 Powder-coated aluminium 150 x 3 x 10 cm each, 40 elements 150 x 510 x 10 cm overall 利亚姆·吉利特 《暂停崩溃》,2015年 粉末涂层铝 150 x 3 x 10 cm(单件,共40个元素) 150 x 510 x 10 cm(整体)
      Liam Gillick
      Suspended Collapse, 2015

      Powder-coated aluminium
      150 x 3 x 10 cm each, 40 elements
      150 x 510 x 10 cm overall

       

      利亚姆·吉利特
      《暂停崩溃》,2015年
      粉末涂层铝
      150 x 3 x 10 cm(单件,共40个元素)
      150 x 510 x 10 cm(整体)

    利亚姆·吉力克(生于1964年)的创作采用多种形式来揭示20世纪90年代 初出现的新的意识形态控制系统。吉力克的作品审视了构建世界的美学,在 全球化、新自由主义的共识框架内,揭示了抽象和建筑领域的现代主义遗产 的功能失调。

     

    该作品由40个粉末涂层的铝单件组成,这些元素以固定的距离垂直安装在 墙上。六个白色单件分布在其他34个深蓝色单件中。由它们的位置之间创建 的间隔不容易解释。

     

    该作品结合了绘画,雕塑和浮雕的属性。由于视角不同,这些鳍可能会模糊, 它们的组合也会改变,并且这些单件从墙壁凸起的高度似乎也会发生变化。 它不仅具有真实大小的比例,还创建一个视觉环境,使观看者沉浸在极简主 义风景中,吸引人们注意表现功能的限制并同时强调感知的主观性质的效 果。

     

     

    Liam Gillick (b. 1964) deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. Examining the aesthetics of the constructed world, Gillick’s work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalized, neo-liberal consensus.

     

    The work consists of 40 powder-coated aluminum elements, which are mounted vertically on the wall in regular distances. The six white elements are spread among the other 34 dark blue ones. The work combines properties associated with painting, sculpture and relief. According to one's point of view, the fins may blur, their combinations change, and the elevation of the elements from the wall appear to vary.

  • Detail: Liam Gillick, Suspended Collapse, 2015. Photo © Andrea Rossetti
    • GrönlundNisunen Kylmäkalle, 2019 Stainless steel, refrigerant gel, freezer, protocol 21 x 21 x 21 cm (artwork) 90 x 30 x 30 cm (plinth) 格罗伦德与尼苏能 《制冷包》,2019年 不锈钢、制冷凝胶、冰箱、协议 21 x 21 x 21 cm(作品) 90 x 30 x 30 cm(底座)
      GrönlundNisunen
      Kylmäkalle, 2019

      Stainless steel, refrigerant gel, freezer, protocol
      21 x 21 x 21 cm (artwork)
      90 x 30 x 30 cm (plinth)

       

      格罗伦德与尼苏能
      《制冷包》,2019年
      不锈钢、制冷凝胶、冰箱、协议
      21 x 21 x 21 cm(作品)
      90 x 30 x 30 cm(底座)

    采用如磁场、电流或简单的重力等相对简单但精密的手段,汤米·格罗伦德(1967年出生)与佩特里·尼苏能1(962年出生)创作出令人悄然回味且形 式上引人注目的作品。

     

    在立方不锈钢容器中装有冷冻凝胶。然后将其放在冰箱中过夜,白天在展览 会开幕时在底座上展示。展览空间的空气中的湿气凝结在作品的冷表面上。由于不锈钢是经过高度抛光的,具有疏水性,因此水易于以水滴形式凝结。

     


    Employing relatively simple but sophisticated means, using magnetism, electric currents, or simple gravitational forces, Tommi Grönlund (b. 1967) and Petteri Nisunen (b. 1962) create quietly evocative and formally striking works.


    A cubic stainless-steel container is filled with frozen gel. It is then kept in a freezer overnight and displayed on a plinth during the day, when the exhibition is open. The moisture in the air of the exhibition space condenses onto the cold surface of the work. Because the stainless steel is highly polished and hence hydrophobic, the water tends to condense on it in droplets.

  • Exhibition view: Grönlund-Nisunen, Grey Area, Kunsthalle Helsinki, 2017. Photo © Patrik Rastenberger.
    • Nathan Carter Fascinator Darlene Delinquent, 2017 Aluminum, latex enamel paint 143,5 x 109,2 x 2,5 cm 内森·卡特 《坏蛋达琳羽毛帽》(2017) 铝、乳胶漆画 143.5 x 109.2 x 2.5厘米
      Nathan Carter
      Fascinator Darlene Delinquent, 2017
      Aluminum, latex enamel paint
      143,5 x 109,2 x 2,5 cm
       
      内森·卡特
      《坏蛋达琳羽毛帽》(2017
      铝、乳胶漆画
      143.5 x 109.2 x 2.5厘米
       
       

    纳森·卡特(生于1970年)的作品将抽象的视觉语言与半虚构叙事融合在一起,触及了尖锐的当代主题。在处理真实和想象中的地理位置和通讯网络的象征时,卡特的作品涉及了绘画与雕塑中的抽象历史,通常采用抽象的地图和风景的形式,并描绘了或多或少的奇幻半虚拟世界,例如具有色彩鲜艳的隐蔽侦听台、数据收集管道或是马戏团等场所。

     

     

    Works by Nathan Carter (b. 1970) originate from the artist’s more or less fictional dialogue with several real-life women. The colorful works are actual or imaginary gifts, inspired by his relationship with these figures. The sources of inspiration are both real and elusive, literal and metaphorical, a quality perhaps best captured by the title which sounds both concrete and fantastic: while the word “fascinator” refers to a type of headpiece attached to a comb or headband, the term also recalls an exaggerated, made-up language of youth culture.

  • Exhibition view: Matti Braun, Bo Lak, Esther Schipper, Berlin, 2014. Photo © Andrea Rossetti
    • Matti Braun Untitled, 2014 Silk, dye, powder-coated aluminium 130 x 100 x 3,5 cm 马蒂·布豪恩 《无题》,2014 丝绸、染料、粉末涂层铝 130 x 100 x 3,5 cm
      Matti Braun
      Untitled, 2014

      Silk, dye, powder-coated aluminium
      130 x 100 x 3,5 cm

       

      马蒂·布豪恩
      《无题》,2014
      丝绸、染料、粉末涂层铝
      130 x 100 x 3,5 cm

    马蒂·布豪恩的作品探讨一般意想不到、鲜为人知的跨文化动力影响,将艺术性迁移与文化性误解以明显的模式展现出来。马蒂·布豪恩的作品特点是在具体指涉和一般影射之间、瞬间诗意和不可思议的感觉之间不断取舍。

     

    该作品由一个狭窄的铝制框架中的一块丝绸面板组成。矩形图像显示从上到下三种颜色的水平渐变,从蓝色到浅蓝绿色到灰白色。不同颜色之间的过渡看起来是无缝的。丝绸在捕捉光线时有轻微的光泽。看着作品,人们开始看到闪烁的色彩,好像它们的强度在不断变化。

     

    先前的丝绸绘画系列包含色彩鲜艳的色块或飞溅的圆点,使人联想到后绘画的抽象,而该系列作品则缩小选色范围来显示柔和的色彩渐变。染色过程的根源是马蒂·布豪恩对通常用于宗教或仪式目的的传统纺织生产技术的调查和使用,但并不显示其来源的图像痕迹。

     

     

    The practice of Matti Braun (b. 1968) investigates the unexpected, often little-known effects of cross-cultural dynamics, making visible patterns of artistic migrations and cultural misrecognitions. His work is characterized by a constant negotiation between concrete references and general allusions, between poetic ephemerality and an uncanny sense of visceral immediacy.

     

    The work consists of a silk panel in a narrow aluminium frame. The rectangular image shows a horizontal progression of three colors, from top to bottom, blue into a light blue-green into off-white. The transitions between the different colors appear seamless. There is a slight sheen to the silk as it catches the light. Looking at the work, one begins to see the colors shimmer and glow, as if their intensity were continuously changing.

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