【展览预告】“Tobias Rehberger: Blind and a little less”个展5月25日在麦勒画廊开幕 - 麦勒画廊

Tobias Rehberger:

Blind and a little less

2019.5.25 - 8.11

开幕|Opening：2019.5.25, 4pm

地址|Venue：麦勒画廊798 Galerie Urs Meile 798

(Please scroll down for English)

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“Planet Lamp”（2019）系列作品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。

《肖像花瓶》系列，1995-2016年，以及“Mother without child“系列，2019年，“托比亚斯·雷贝格：如果你的眼睛不用来看，就会用来哭”展览现场，上海外滩美术馆

"Vase Portraits" series, 1995-2016 and "Mother without child" series, 2019, installation view of "Tobias Rehberger: If you don’t use your eyes to see, you will use them to cry", Rockbund Art Museum, Shanghai

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，而右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。

《Infection》系列，2002-2019，魔术贴、电线、插座、灯泡，尺寸可变，图片提供：艺术家及纽格赫姆施耐德（柏林）及麦勒画廊北京-卢森

Infection series, 2002-2019, velcro, wire, cable, socket, light bulb, dimensions variable, courtesy of the artist, neugerriemschneider, Berlin and Galerie Urs Meile, Beijing-Lucerne.

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）？

像素墙纸作品动画模拟图，2019，数码打印，纸，综合媒介，尺寸可变

digital animation of the pixelated wallpaper, 2019, digital print on paper and multiple media, dimensions variable

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 fora 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。

（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。）

Galerie Urs Meile is pleased to announce Blind and a little less, Tobias Rehberger’s second solo exhibition with the gallery after Das Kind muss raus生 presented in Beijing in 2014. Following a major solo exhibition devoted to Tobias Rehberger at the Rockbund Art Museum in Shanghai –If you don’t use your eyes to see, youwill use them to cry (23.3–26.5, 2019) – Blind and a little less draws on the Shanghai exhibition and delves further into existing themes and series of works. Divided into four parts, the exhibition will include a first section dedicated to the ongoing Vase Portrait series (1997-2019); a second section presenting brand new Planet lamps (2019) and some 16 lamps from the ongoing Infection series (2002-2019); a third section consisting in 4 pixelated large-scale tableaux (2019); and a final section presenting new LED works (2019) and some watercolors (2019). Across a large array of techniques and mediums, Tobias Rehberger once again blurs the lines between conceptual art, sculpture, interior design and architecture.

《HOMEAWAY (Oppenheimer Drawings I)》，2014年，麦勒画廊北京个展“Tobias Rehberger: Das Kind muss raus生“展览现场

HOMEAWAY (Oppenheimer Drawings I), 2014, installation view of "Tobias Rehberger: Tobias Rehberger: Das Kind muss raus生“ , Galerie Urs Meile, Beijing

The vases and flowers in the first room form “portraits” of friends and acquaintances, representational but not literally. The vases areas diverse as the subjects, in shape and materials, including glass, ceramics, plastic, 3D-printed aluminum and felt. Like friends and social acquaintances, there are more permanent elements (the vases) and more ephemeral ones (the flowers – which eventually wilt and must be replaced, though always with the same type of flowers). The vases are portraits of nine artists represented by Galerie Urs Meile, who each completed their respective portrait by choosing the flowers to be displayed in them. Together the portraits form a matrix of histories, connections and influences. And the smell! The room is heady with the perfume of all the flowers, their pollen floating around and making people sneeze, embodying artistic cross pollination and allergic reactions.

On the left of the second space hangs a series of sun-like glass globes, whereas chandeliers of bands of colored Velcro tapes, squiggle lines of color, seem to float on the right side of the room, as if drawn freely in space. The Infectionseries, which began in 2002, starts as compositions made by Rehberger’s assistants. The artist then intervenes with his own artistic editing but without adding materials, in an approach of “controlled chance” and “deferred authorship”. There is a light touch to these chandeliers, sculptures that illuminate the space but also our understanding. Sculptures are traditionally thought of as matter in space, but these Infections transmit light, light from inside a drawing composed of swishes of color that curl through air, the two-dimensional colored bands transforming three dimensional space, relying on gravity and material tension to hold their curling forms. Of course, they are also held up by the very cables which powers the light – each element relies for existence upon the others.

The third space might be the one that best embodies the title of the exhibition. At first these colorful pixelated tableaux have a child-like charm as visitors discover the trick, as if something secret was revealed. These apparently abstract conglomerates of tiles start revealing themselves as viewers pause, fold their eyes, tilt their head and filter the image through the lens of a camera in order to decipher these encrypted images. The colored slump suddenly takes shape before the viewers’ eyes, as if they had become a little less blind. Six wall-mounted shelves are skillfully camouflaged in the work, an omnipresent technique in Rehberger’s practice, who enjoys blurring the limits between the visible and the invisible, ultimately questioning the very nature of art: is art something to be stared at directly, or rather something to be experienced in a much broader sense?

The fourth room of the exhibition features a series of watercolors as well as two new LED works, which imitate the likes of flickering advertising signs. However, the familiar commercial slogan is replaced here by two antagonist adages commonly attached to popular wisdom (as does the figure of Pinocchio): “everything/nothing happens for a reason”. As the lights flicker, one can alternatively read “very happea” and “not happea”. Immersed in colorful lights, the audience is encouraged to take a look at the commercial and moral values of society from a different perspective. The watercolors exhibited in this space also invite viewers to reflect on social conventions and interactions, as they all show cigarette butts crushed into half-emptied plates of food.

（The above text includes excerpts from an essay written by Christopher Moore on the exhibitions If you don’t use you eyes to see, you will use them to cry (Rockbund Art Museum, Shanghai) and Blind and a little less (Galerie Urs Meile, Beijing). Christopher Moore is an art historian, critic and cofounder of Ran Dian art magazine, where he held the position of publisher from 2010 to 2018. He then joined NRM, a new curatorial consultancy. Moore continues to contribute to Ran Dian and he is the editor of a monograph on Xu Zhen, published by Distanz in 2014.）

Tobias Rehberger

1966年生于德国埃斯林根，现生活和工作于法兰克福，2001年以来担任法兰克福史泰德学院（St?delschule）教授。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。

Tobias Rehberger (*1966 in Esslingen, Germany) lives and works in Frankfurt am Main, Germany and has been a professor of Fine Arts at the Frankfurt St?delschule since 2001. Selected solo exhibitions and projects include If you don’t use your eyes to see, you will use them to cry, Rockbund Art Museum, Shanghai, China (2019); Yourself is sometimes a place to call your own, The Museum of Contemporary Art, Busan, South Korea (2018); 24 Stops, Fondation Beyeler, Basel, Switzerland (2016); Home and Away and Outside, Schirn Kunsthalle, Frankfurt, Germany (2014); Tobias Rehberger: Wrap it up, MACRO Museum, Rome, Italy (2014); Dazzle Ship London, River Thames, London, United Kingdom (2012); When I See the Other Side of Heaven, It Is Just as Blue (commission), The Leeum Samsung Museum of Art, Seoul, South Korea (2012); Nest (commission), Bloomberg SPACE, London, United Kingdom (2012); Tobias Rehberger, MAXXI, Rome, Italy (2010); The Chicken-and-Egg-No-Problem Wall-Painting, Stedelijk Museum, Amsterdam, Netherlands (2008); On Otto, Fondazione Prada, Milan, Italy (2007); Get a New Liver, Tate Liverpool, Liverpool, United Kingdom (2006); Private Matters, Whitechapel Gallery, London, UnitedKingdom (2004); Night Shift, Palais de Tokyo, Paris, France (2002) and The Sun from Above, Museum of Contemporary Art, Chicago, USA (2000). Rehberger was awarded a Golden Lion as best artist at the 2009 Biennale di Venezia.