{{sindex}}/{{bigImglist.length}}

【GCA】《分厘——奥地利的秘密》艺术家推介丨第VII期

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

Herbert Brandl (* 1959)

赫伯特·布兰德尔(* 1959)

赫伯特·布兰德尔主要以其有强烈感染力的绘画而闻名。他的作品在抽象和形象之间摇摆，描绘了山脉、河流、鬣狗或完全抽象的颜料的迸发。在能量迸发的那一刻，喷涌出的能量在姿态和颜色上为自己创造出空间，以线条、轨迹和平面将其自身转移到画布上。该姿态在画布上自给自足并具有主导权，但与此同时它又是碎片化的，因为它总是指向绘画过程，并且讲诉画家是如何暴露在绘画过程中的。

Herbert Brandl is mainly known for his powerful painting. His works oscillate between abstraction and figuration and depict mountains, rivers, hyenas or entirely abstract effusions of paint. It is a moment of discharge in which the erupting energy makes room for itself in gestures and colors, transposing itself in lines, trajectories and surfaces onto the canvas. The gesture stands self-sufficient and sovereign on the canvas. But at the same time it is fragmentary, since it always refers to the process of painting and relates how the painter is exposed to the process of painting.

赫伯特·布兰德尔

《水》1994年有声影像，5:30分钟版权©归维也纳Elisabeth & Klaus Thoman画廊所有

Herbert Brandl

Aqua, 1994HD Video, sound, 5:30 min. Courtesy Galerie Elisabeth & Klaus Thoman, Innsbruck, Vienna

赫伯特·布兰德尔

《夏天》2016年无声影像，0:41分钟版权©归维也纳Elisabeth & Klaus Thoman画廊所有

Herbert Brandl

Sommer / Summer, 2016HD Video, sound, 0:41 min. Courtesy Galerie Elisabeth & Klaus Thoman, Innsbruck, Vienna

赫伯特·布兰德尔

《风》2015年有声影像，0:18分钟版权©归维也纳Elisabeth & Klaus Thoman画廊所有

Herbert Brandl

Wind, 2015HD Video, sound, 0:18 min. Courtesy Galerie Elisabeth & Klaus Thoman, Innsbruck, Vienna

赫伯特·布兰德尔的视频作品，同样也可以被看作是碎片化的，是不完整故事的片段。作品《水》类似于抽象绘画；借助反映流水的声音和倒影，它渗透了空间和时间。视频《风》和《夏天》的对比中彼此互补。奥地利国旗已经受到了天气的影响，被狂风吹着来回飞扬。在不可抗的力量中撕扯并暴露着，国旗喻意般地在风暴中颤斗。与此形成鲜明对比的是，厨用卷纸那珍珠白的旗帜随着收音机的旋律以轻松的节奏摇摆。厨用卷纸是赫伯特·布兰德尔绘画过程中最重要的工具之一。在工作室的窗户里被捕捉到，它的出现相当于一个非常私人的标记：因着其细腻、易损的质地，它讲诉着脆弱性。然而，画家在空间中无忧无虑的手势，标志着一种反抗，对战争感到疲惫不堪的奥地利国旗的反抗。它已提升为绘画或艺术的隐喻，因为它以主导的姿态面对着贫困的国家。这是在赫伯特·布兰德尔的作品集中遇到的，诗意又带着自相矛盾性的存在的奇观。

Herbert Brandl’s videos, too, can be seen as fragments, as parts of an incomplete story. Aqua resembles abstract painting, which, by virtue of sound and the reflections of moving water, penetrate space and time. Both videos Wind and Summer complement each other in their contrasts. The Austrian flag has already been subject to the elements by being wildly blown back and forth by the wind. Torn and exposed to force majeure it metaphorically shudders in the storm. As a contrast, the pearly-white flag of the rolled kitchen paper towel sways in an easy-going rhythm to the melody of a radio. The kitchen paper towel roll is one of the most important tools in Herbert Brandl’s painting process. Caught in the studio window, its appearance is tantamount to a very personal insignia: with its delicate, fragile texture it tells about vulnerability. And yet the painter’s carefree gesture in the space, signaling an opposition to the battle-weary Austrian flag, is now elevated as a metaphor of painting or of art as it stands sovereignly vis-à-vis the poor nation. It is an existential spectacle, both poetic and paradoxical, that one encounters in Herbert Brandl’s oeuvre.

Ingo Nussbaumer (*1956)

因戈·努斯鲍默 (*1956)

因戈·努斯鲍默是一位画家、艺术理论家和颜色研究家。他的艺术作品的核心是颜色，并在颜色相关的诸多领域获得了高超的理论知识和实践经验。这包括让他在1995年发现无序光谱的物理实验。在绘画以外，这项活动也让他创作了光谱作品，这些作品成为他当下艺术创作的核心。

Ingo Nussbaumer is a painter, art theorist and color researcher. The focus of his artistic work is color on which he has acquired theoretical and practical background competence in various fields. This also includes physical experiments that led him, in 1995, to discover the disorderly spectra. Apart from painting this activity resulted in spectral light objects, which figure as a central part of his artistic production today.

在因戈的画作里，图像寓言这一观念占据了显著的位置。对艺术家而言，这个观念从绘画的组成成分中发展出来，而绘画的成分不仅包括颜色、线条和平面，还包括图像载体这个三维空间里的实体。它们的边缘在墙上投射出阴影，在光的配合下和离彼此适当的距离处形成狭长阴影槽，这些都是画作的一部分，也与图像成语这一观念一致。对努斯鲍默而言，在真实和图像想象中建立对话是很重要的。

In his painting the notion of pictorial idiom assumes an eminent role. This notion develops for him from the elements of painting, which does not just encompass color, line and surface, but also the picture carrier as a body in three-dimensional space. These cast shadows on the wall at their margins and in dependence on light and together and in certain distances to each other create shadow grooves that are a part of the entire picture in keeping with the pictorial idiom. For Nussbaumer it is important that a dialogue is established between the real and the imaginary of a picture.

因戈·努斯鲍默

《色(彩)议(案)078, 079, 080, 081》2011年树脂、油彩、纤维密度板版权©归维也纳Hubert Winter画廊所有

Ingo Nussbaumer

C[olor] P[roposition] 078, 079, 080, 081, 2011 Alkyd and oil on MDF Courtesy Galerie Hubert Winter, Vienna

他的画作标题《色（彩）议（案）》例证了由不同图形和阴影组合诞生的产物的重要性。

图像本体辩证地摇摆于现实与想象之间，失衡效果由此凸显为一个难以定义的情况。一种微妙的举棋不定感在这个现实多层次的近乎随意的轻盈感中，以一种颠覆的方式被清晰地感受到。在这个悖论里，还有一种奇怪的感官体验的共鸣。现实让步于潜能。努斯鲍默的作品集是一个始终不断的更新尝试，意在巩固图像的“当代”存在和强调它的物理实体。

The title of his paintings color proposition exemplifies the importance of the formations emerging from the color and shadow constellations.

The pictorial body oscillates dialectically between reality and imagination, with the off-kilter effect standing out as a condition that evades definition. A subtle ambivalence can be found in the almost casual lightness of the layers of a reality that shines through in a subversive way. In this paradox there is also a strange sensuality that resonates. Actuality yields to potentiality. Nussbaumer’s oeuvre is a constantly renewing attempt to consolidate the picture in a “contemporary” presence and to proclaim its physical entity.

Iris Andraschek (* 1963)

伊莉丝•安德拉谢克(* 1963)

伊莉丝•安德拉谢克通过今日生活的全部场景来聚焦于当代现实。她参与到一场对话，并触及到了争议性的论题。这场对话是关于政治、社会及数字创造的现实；这几者之间交织的动态正代表着人类当下生活的基本挑战。伊莉丝采用的艺术形式包括绘图、摄影、摄像以及装置。她常常诗意地转化了这些争议性的议题——生活的现实被分解再重组——最终具像化、强化为作品，它们的层次也更加丰富。

Iris Andraschek zooms in on contemporary reality with all of today’s life conditions. Engaging in a dialogue with political, social as well as digitally produced realities, whose interwoven dynamics represent the basic challenges for human life today, she arrives at charged issues. Working with drawing, photography, video and installation, she often transforms these issues in a very poetic way – the realities of life are dissected and reformulated – materialized, intensified as work and their complexity multiplied.

伊莉丝 · 安德拉谢克

《脆弱的地缘》 2017年摄影、绳子、竹子版权©归艺术家所有

Iris Andraschek

Fragile Territorien / Fragile Territories, 2017 Photos, ropes, bamboo Courtesy the artist

2017至2018年，当伊莉丝居住在重庆时，她遇见了一些曾是农民的居民。这些居民在摩天大楼环绕下的自己的屋顶种菜、养鸡。伊莉丝用难忘的照片记录下了迷你小农场这一文化的、物质的存在；在这特大都市里这种迷你农场的存在看起来几乎是不真实的。她把这些照片和奥地利边境一些生产者的照片组合起来，悬挂在竹竿上。那些奥地利生产者自给自足，在相似的困难情境下维持自己的生计。东西交融，乡村与城市展示出多面，而生命的紧张感也获得了美学意义上的升华。这个简单的制作保留了它们存在的脆弱性和现有平衡的不稳定性，强调了其回转余地的有限性。《脆弱的地缘》不仅仅是一件可触的艺术品，也是对个体、社会进行思考和行动的一个过程——这个过程受惠于这件作品可延展的思想。

During her stay in Chongqing in 2017/18 she met former farmers who grew vegetables and held chickens between the skyscrapers and their roofs. Iris Andraschek documented the cultural material presence of unreal looking mini-farms in the megalopolis in memorable photographs. In a kind of mobile, tied to light bamboo poles, she combined these shots with ones of self-sufficient producers from Austria’s periphery who ensure their sustenance under similarly difficult conditions. A blend of East and West, rural and urban emerges in their diverse manifestations, with the intensities of life becoming aesthetically enhanced. The simple construction keeps their existence as a fragile system in a precarious balance, underscoring the limited wiggle room. The focus of Fragile Territories is not just the tangible artifact but also thinking and action as a process related to individuals and society – one that is indebted to an extended notion of the artistic work.

（文：玛格瑞特·桑德霍尔/ Margareta Sandhofer）

*图片整理归星汇当代美术馆所有，转载请注明来源！

特别鸣谢 / Thanks to:

重庆高科集团、星汇两江艺术商业中心、重庆星图文化传媒有限公司、重庆筑尚文化传播有限公司、重庆诗仙太白酒业集团、重庆HMD设计集团、重庆合伟设计工程有限公司、奥地利使馆文化处（北京）、Bildrecht、Bundeskanzleramt、Österreichisches Generalkonsulat Chengdu、Kulturforum Peking、Kultur Niederösterreich、hs art service austria、Kulturland Oberösterreich 、Land Salzburg、Galerie Elisabeth & Klaus Thoman

（注：受疫情影响，美术馆暂未开放，开放时间另行通知）

GCA星汇当代美术馆 当前展览

《分厘——奥地利的秘密》

展期／Duration

2019年11月17日-2020年03月31日

Nov. 17th, 2019 to Mar. 31th 2020

关于GCA星汇当代美术馆

About The Galaxy Museum of Contemporary Art

美术馆通过每年定期举办国内外艺术家的当代艺术展览、学术论坛、公共教育、文化交流，以此来推进当代艺术与各文化领域的实验与跨域交流，将为本土构建一个广泛的国际化专业平台。

星汇当代美术馆是一家非盈利性的民营美术馆，是集展览，公众教育，学术研究，收藏为一体的专业机构。将致力于中国当代艺术和全球化艺术实践的展示与链接，研究与推广做为己任。并以专业独特的文化视野和策展理念关注当下社会中艺术的前沿实践和发声，希望在多重多元的当代文化现场构建和传播我们对当代艺术的文化态度和价值理念。

The gallery will regularly hold contemporary art exhibitions, academic forums, offer public education and cultural exchange of domestic and international artists every year to further cross-domain communication of contemporary art and different cultural fields, which will build a broad, international and professional platform.
GCA is a professional organization featuring exhibitions, public education, academic research and collection of art. GCA turns its focus on the Chinese contemporary art and display, as well as links of global art practice and puts the research and promotion at its forefront. At the same time, GCA focuses on the forefront practice of art and voice of present society with a professional cultural horizon and curatorial philosophy. Thus we hope to build and spread our cultural attitude and value of contemporary art within the diversified contemporary cultural scene of today.

开放时间/opening time：

每周二至周天/Tue-Mon（周一闭馆）10：00-18: 00

票务信息/Ticket information：

免费/Free

地址/Add：重庆两江新区黄山大道中段6号星汇两江艺术商业中心3区重庆星汇当代美术馆1-2楼

F1-F2, The Galaxy Museum of Contemporary Art, Bloc 3, Star Fest, Liangjiang New District, Chongqing, China 400021

电话/Tel: +86-23-63111269

邮箱/E-mail: gcacenter@126.co

长按二维码关注我们

获取更多资讯

▽