【艺术家故事 | Artist Story】Anselm Reyle 安塞姆•雷尔

'Into the Void' Interview   “进入虚无”访谈

无题 Untitled

2013

混合材料，亚克力玻璃 mixed media, acrylic glass

143 x 122 x 25 cm

安塞姆?雷尔生于1970年，是目前最杰出的德国当代艺术家之一。1997年，他于卡尔斯鲁厄国立造型艺术学院毕业不久之后便移居到柏林。雷尔将早期对景观设计的兴趣融入其为人熟知的大尺幅，且极端细致的抽象绘画中；随后他开始制作雕塑以及精致的霓虹装置，从中观者可找到来源于20世纪60年代朋克运动初期平面设计中的迷幻风格，特别是那种带有荧光涂料切边艺术的样式。

无题 Untitled

2012

布面综合材料、霓虹灯、绳索、亚克力玻璃 mixed media on canvas, neon, cable, acrylic glass, 

87 x 61 x 21 cm 

作品细节 Detail

雷尔在作品中经常使用抽象图案，人工色，以及非传统材料，例如锡箔纸，稻草包，橱窗中的聚酯薄膜；他同时会利用一些社会发展中所产生的工业废料例如金属材料——汽车零件，损坏的计算机零部件或玻璃进行创作。正因如此，雷尔的很多作品呈现出高度反光的效果，他的创作使用鲜明夺目的色彩，并在背后用霓虹或闪动的LED灯光做背景，并常常在作品外面罩上树脂玻璃。在他的平面作品中，雷尔善于运用不和谐的色彩组合，作品中的条纹采用了多样化的材质，包括锡箔纸和闪光的黑色砂纸，而这些组合几乎从不遵循色域风格。

无题 Untitled

2017

废金属 scrap metal

135 x 92 x 13 cm

在战后抽象的浪潮中，安塞姆?雷尔讽刺形式主义者的幻想，同时一丝不苟地继续其条纹绘画的创作。雷尔对主流的品味准则与现代抽象的理想化与乌托邦具有批判性的深思，试图在作品中制造出一种有如游乐场般的美学样式。

Anselm Reyle, born in 1970, is one of leading contemporary artists in Germany. Shortly after graduating from the Staatliche Akademie der BildenenKünste Karlsruhe in 1997, he moved to Berlin. First recognized for his large-scale, ultra-refined abstract paintings drawing from his interest in landscape design early on in his career, Reyle then moved on to making sculptures and elaborate installations with neon elements, that areinspired by 1960s psychedelia and especially the Day-Glo hard edge agitprop look of graphic design in early punk movement.

Reyle frequently makes use of abstract shapes, artificial color and unconventional materials such as silver foil, straw bails,mylar of shop windows, or picking up materials from the trash ofour civilization, from which metallic material such as, car parts, shattered computer equipment and glass elements are incorporated into his artworks. As a result, his works predominantly characterized by highly reflective surfaces, vivid and flashy colors, that literally glow with neon lights or pulsating LED’s, and more often than not, are framed in Plexiglas boxes. On his two dimension works, Reyle employs rather jarring colors combinations, where the stripes bear widely varied textures, including silver foil and glittering black sandpaper, that hardly conform to the Color Field style.

Riffing on postwar abstraction, he pokes fun at formalist conceits, as in his meticulously executed vertical stripe paintings.Reyle critically reflects not only upon the prevailing codes of taste but also the, sometimes utopian, ideals of Modern abstraction, creating something like a fun house atmosphere.

Anselm Reyle, Arken Museum of Modern Art, Ish?j, Denmark

安塞姆?雷尔，方舟现代美术馆，丹麦

Last Supper, Salon Dahlmann, Berlin

最后的晚餐，达勒曼沙龙，柏林

Into the Void, Kaikai Kiki Gallery, Tokyo, Japan

进入虚无, Kaikai Kiki画廊，东京，日本