中国新闻

阿尔伯特·厄伦个展《绘画》路易威登基金会北京闭展

(《国际艺术新闻网》记者王蕾 2024年10月28日中国北京报道)昨日,德国艺术家阿尔伯特·厄伦的个展《绘画》在路易威登北京Espace文化艺术空间顺利落幕。本次展览作为路易威登基金会“墙外”项目的一部分,旨在促进国际公众参与艺术活动,并增强艺术与公众之间的互动。

On October 27, 2024, the Espace Louis Vuitton Beijing successfully concluded the exclusive exhibition “Malerei,” dedicated to the acclaimed German artist Albert Oehlen. This exhibition was part of the Louis Vuitton Foundation’s “Hors-les-murs” (“Beyond the Walls”) program, which aims to enhance public engagement with art and foster interactions between artworks and their audiences.

路易威登北京Espace文化艺术空间外景

此次展览精选了六幅来自路易威登基金会收藏的作品:《无题》(Untitled, 1992/2005)、《潜艇总动员》(Mission Rohrfrei, 1996)、《剃须》(Rasieren, 2005)、《石头》(Rock, 2009)、《无题》(Untitled, 2017)以及《最后一个人23》(Ömega Man 23, 2022),这次展览是路易威登北京Espace文化艺术空间的第十个展览,继格哈德·里希特(Gerhard Richter)后第二位德国画家,展出作品大部分首次在北京展出。

The exhibition showcased six selected works from the Louis Vuitton Foundation’s collection, including Untitled (1992/2005), Mission Rohrfrei (1996), Rasieren (2005), Rock (2009), Untitled (2017), and Ömega Man 23 (2022). Marking the tenth exhibition at Espace Louis Vuitton Beijing, Oehlen is the second German artist to be featured, following Gerhard Richter, with most works making their debut in Beijing.

展览现场图

作品《无题》有两幅1992年创作2005年完成,创作时间跨度大,融合了多种元素,颜色为黑白或是彩色,由格子、箭头、线条等几何图形和像素化的图案构成,艺术家以手绘的方式强化图形、数字化的视觉效果。展现了创作者受柏林墙历史和东西方文化影响,以矛盾和复杂的主题反映了艺术家反复修改的过程。

Oehlen’s inspiration from the first computer-aided design programs of the 1990s is evident in his series of Computer Paintings, such as Untitled (1992/2005). He describes these abstractions as “bionic,” constructed from a blend of geometric forms and pixelated patterns. The artist enhances the visual effects of digital graphics through hand drawing, applying black-and-white diagrams that have been screen-printed onto canvas.

展览作品《无题》(Untitled, 1992/2005)

《潜艇总动员》作品标题是美国电视喜剧音乐剧《潜艇总动员》的德文,是早期的电脑绘图系列,运用了计算机图像处理,创作于1996年。艺术家在作品中表达了一种“心情画画”的理念,强调情感的直接表达,厄伦运用了计算机图像处理技术,尝试在数字领域中表达情感与思想,通过图像直接传达内心感受,而不是仅仅依赖于传统绘画的技巧和形式。

The title Mission Rohrfrei translates to “Down Periscope,” referencing an American TV comedy musical that first aired in 1996. This work connects to Oehlen’s Computer Paintings through the integration of pixelated patterns and vibrant colors. Featured in the The John Graham Remix series exhibited at the Serpentine Gallery (2019-2020), Oehlen’s abstract creation entirely dissimulates the motifs of John Graham’s original painting.

展览作品《剃须》(Rasieren, 2005)

《 Rock》创作于2009年。构图简单,使用了不同字体、大小和颜色,呈现出像音符一样的效果。作品中包含金色元素和一些象征性的手势,表现了对经典摇滚乐队的致敬。

Rock, a triptych created in 2009, showcases a composition of various fonts, sizes, and colors reminiscent of musical notes. The artist alludes to several musical references with the letters “Help I’m a Rock,” including the song of the same name by The Mothers of Invention, as well as “Help” by the Beatles and “I Am a Rock” by Simon & Garfunkel.

《最后一个人23》是一幅探讨孤独和存在主题的作品。厄伦通常采用对比鲜明的色调,简洁的形式,强烈的视觉冲击力,表现了人类在现代社会中的孤立状态。艺术家可能运用了个人化的符号和抽象的元素,传达对人类处境的深刻反思。艺术家在作品中试图通过色彩与形式反映人类的生存斗争,特别是在经历新冠疫情后的情感状态,旨在引发观者对自身存在、社会关系以及人类共同命运的思考。阿尔伯特·厄伦个展《绘画》展出的作品大部分首次在北京亮相,展现了厄伦丰富多元的艺术创作历程。

In Ömega Man 23 (2022), Oehlen explores themes of loneliness and existence through bold color contrasts and striking visuals, illustrating human isolation in modern society. The work employs personal symbols and abstract elements, prompting deep reflections on the human condition. Oehlen’s art represents the struggle for existence, particularly in the emotional aftermath of the COVID-19 pandemic, encouraging viewers to contemplate their existence, social relationships, and collective human fate. Notably, many works in the exhibition were showcased for the first time in Beijing, highlighting Oehlen’s rich and diverse artistic journey.

展览现场图

在当今AI技术的迅猛发展给艺术创作带来了前所未有的机遇和挑战。阿尔伯特·厄伦作为当代艺术家的重要代表,以创造者的艺术思想为观者理解技术与创造力的关系提供了深刻的视角。他常在不同场合谈及“技术在艺术创作中的角色,强调技术应服务于艺术家的创造力,而非替代它。技术应作为工具,而非主导力量。艺术的核心在于艺术家的创造力和主体性。对过度依赖技术所可能导致的艺术表面化和机械化应保持警惕”。提醒观者艺术创作不能被技术所吞噬。

In a rapidly evolving era of AI technology, which presents both opportunities and challenges for artistic creation, Albert Oehlen emerges as a significant contemporary artist. His insights into the relationship between technology and creativity offer profound perspectives for audiences. Oehlen emphasizes that technology should enhance, rather than replace, the artist’s creativity, warning against the risks of over-reliance that may lead to superficial and mechanized art.

路易威登基金会在全球布局中,关注各地区观众的文化背景和审美偏好,展现多样的风格与主题。路易威登基金会北京Espace作为独立非营利机构,每周举办多样化活动,鼓励艺术与观众的互动,致力于提升社会对艺术与设计的关注,引导公众理解艺术。特别是在北京,观众艺术素养较高,许多高校师生自发参观。未来,基金会计划引入更多国际艺术家的作品,丰富北京的艺术文化。通过持续的展览,路易威登基金会北京Espace期待与公众共同探索艺术的无限可能,构建开放而充满活力的艺术空间。

The Louis Vuitton Foundation, through its global outreach, pays close attention to the cultural backgrounds and aesthetic preferences of audiences in different regions, showcasing a diverse array of styles and themes. As an independent non-profit institution, Espace Louis Vuitton Beijing hosts various activities designed to encourage interaction between art and audiences, enhancing public awareness of art and design while fostering a deeper understanding of artistic expression.

Particularly in Beijing, where audiences generally possess a high level of artistic literacy, many local university students and faculty visit voluntarily. The Louis Vuitton Foundation is committed to introducing more works from international artists, creating an open and vibrant artistic environment.

展览作品《最后一个人23》(Ömega Man 23, 2022)

关于艺术家(About the Artist)

阿尔伯特·厄伦1954年出生于德国克雷菲尔德。他在瑞士布勒和西班牙塞哥维亚生活和工作。1978 年,在定居柏林一年后,阿尔伯特·厄伦从德国汉堡造型艺术学院毕业。当时,柏林是欧洲反文化的心脏,朋克文化尤甚,这种能量和美学对他产生了持久的影响。在1980年代,他是名为“新狂野”( Neue Wilde)或“狂野青年”(Junge Wilde)的团体的一员,该团体聚集了来自德国、瑞士和奥地利的艺术家,他们反对既定的学院派绘画,而更倾向于新表现主义。厄伦从格哈德·里希特(Gerhard Richter)、乔治·巴塞利兹(Georg Baselitz)或西格玛·波尔克等艺术家那里汲取灵感,从单纯的绘画过程到绘画在整个艺术史中的发展,他的创作对绘画媒介本身提出质疑,致力于重新发明和重塑艺术史并始终反对传统的等级划分。即便他的实践看似侧重于抽象,具象也不时出现在他对“经典”流派(自画像)的重访,对拼贴、异质图像和多种材料的使用当中。

Albert Oehlen was born in 1954 in Krefeld, Germany, and currently lives and works in Bühler, Switzerland, and Segovia, Spain. After spending a year in Berlin, he graduated from the Hochschule für Bildende Künst in Hamburg in 1978. Berlin, a hub of European counterculture, particularly punk, had a lasting impact on Oehlen.

In the 1980s, he became part of the “Neue Wilde” or “Wild New” group, which included artists from Germany, Switzerland, and Austria who rejected established academic painting in favor of Neo-Expressionism. Drawing inspiration from artists like Gerhard Richter, Georg Baselitz, and Sigmar Polke, Oehlen’s oeuvre challenges the painting medium itself , while consistently opposing traditional hierarchies. Although his practice primarily focuses on abstraction, figurative elements occasionally emerge, particularly in his explorations of “classic” genres like self-portraiture, alongside the use of collage, heterogeneous images, and diverse materials.