线上弗里兹 | 玛丽安 · 古德曼画廊线上展厅呈现萨宾娜 · 莫里茨精选作品
“投入创作而忘记时间是一种美妙的体验。当你忘记时间的流逝，就会体会到一刻的无穷尽。这是因为你没有意识到，或者忘记了一切。你只是在动笔画着，在抽象画中感受一种难以置信的自由。然后，你突然在这自由中重新找到结构和规则，便又会兴奋不已。我总是从这体验中感到惊喜。此外，也有一种说法将抽象画形容为小说。理论上是。读小说有一个从头到尾的顺序，这也就形成了一个时间框架。但一幅画呢……一切都同时展现在画面中。艺术家想让观看者在画前驻足，花很长时间去欣赏琢磨，不断从中看出不同的事物。也就是说与一幅画相处，你需要一遍又一遍去观看它，从中体会出特别的感觉和想法。或者感觉和想法本就隐藏在画面中，并会和观看者发生交流。但事实上，创作就在于始终给观者尽可能多的自由去观看，思考和感受。我们可以谈论艺术术语。但我或许更推崇，我们可以称之为——减法艺术术语。意思是你看见某物，便去注意那是什么，而无需在其上添加更多信息。换句话说，就是先观看然后相信你看到的，而不是先相信有什么再去观看。”
——萨宾娜 · 莫里茨
萨宾娜 · 莫里茨的绘画与当下现实保持距离，创造出在时间中、不确定性中静止的时刻。她常常在创作中重复使用相同的图案，这往往源自个人记忆、文献图片以及她周围的人事物等多种灵感。对她来说，将一个重复的主题加以变化既是试图阻止记忆的消逝，也意味着在象征性意义中制造偏移。
抽象画2015年首次出现在莫里茨的创作中，在那之前她尤以具象画而著名。这一新的尝试为她拓展了一种绝无仅有的艺术实践。
萨宾娜 · 莫里茨 / 《微光III》，2020 / 纸上油画 / 100 x 100cm
“在莫里茨的作品中，非客观绘画自有其发展的历史。我们可以将之形容为在画布上直接上色的手法逐渐占据主导，这一特点在她现在的绘画中呼之欲出。艺术家在绘画构图基础上的延续与之形成了对比，并且这一点从其第一幅抽象画起就不断在重新确立。但抽象作品的演进，不是线性的，而是往不同方向不断用颜料覆盖（pentimenti）或制造偏离（ excursuses），这便是其画面丰富性的原因所在。“
- 罗伯特 · 弗莱克（Robert Fleck），节选自“萨宾娜 · 莫里茨：深度无意识”（巴黎：玛丽安 · 古德曼画廊，2019）
萨宾娜 · 莫里茨 / 《头骨》，2016 / 布面油画 / 51 x 40cm
萨宾娜 · 莫里茨1969年出生于前东德奎德林堡。她先后就读于奥芬巴赫应用艺术学院（Hochschule für Gestaltung）和杜塞尔多夫美术学院（Kunstakademie de Düsseldorf）莫里茨曾师从马库斯 · 吕佩尔兹（Markus Lüpertz）和格哈德 · 里希特（Gerhard Richter），现在科隆生活和创作。
萨宾娜 · 莫里茨曾在欧洲众多艺术机构举办个展，其中包括：德国罗斯特克美术馆（Kunsthalle Rostock，2019 ），德国不莱梅美术馆（Kunsthalle Bremerhaven，2017），德国伍珀塔尔的冯德海伊特美术馆（Von der Heydt-Kunsthalle，2014），比利时欧登堡DE 11 LIJNEN基金会（2013），伦敦的Art@GoldenSquare（2012）。她的作品近年还参加了包括伦敦帝国战争博物馆群展（2017）、德国威斯巴登Nassauischer Kunstverein艺术中心（2013）和德国纽伦堡的国家艺术与设计新博物馆（2012）在内的众多群展。
2019年萨宾娜 · 莫里茨在玛丽安 · 古德曼巴黎画廊举办全新个展期间出版的画册《萨宾娜 · 莫里茨/深度无意识》收录了艺术家近年的抽象绘画作品以及杜塞尔多夫艺术学院院长罗伯特 · 弗莱克的评论文章。
Freize London Online 2020
Marian Goodman Gallery
Sabine Moritz
Online Viewing Room
6-16 October 2020
Please use the link at the bottom left to acces our viewing room
“It's nice to forget time when you work. When you forget time passing, you have a moment of infinity. Because you are unaware, or you forget, forget everything. And you just paint. You have such incredible freedom with abstract painting. And suddenly finding structure and rules again in that freedom is incredibly exciting. It'a always a surprise for me. Then there's the idea that abstract paintings are like novels. Theoretical. You read a novel from beginning to end, and that's a timeframe. But with a picture...It's all there, at once. But what you want is for the viewer to spend time with the picture. A lot of time, and keep seeing different things in it. The idea of living with a picture, that you look at again and again, and it spawns specific feelings and thoughts, or maybe feelings and thoughts are encoded in it, which establish communication. But in reality, it is always about allowing the viewer as much free as possible to look and think and feel. And we could talk about terms of art. But maybe I'm more of a follower of, of a kind of, let's call it, subtractive art term. Meaning that you see something and look at what's there, without having to add a lot of information on top. To put it another way, look first and then believe. Don't believe and then look. ”
-Sabine Moritz
Set apart from the immediate reality, Moritz’s drawings and paintings create moments suspended in time, in limbo. Moritz frequently reiterates the same motifs in her art, drawn from a variety of sources including personal memory, documentary images, and her direct surroundings. For Moritz, varying a recurrent theme can be both an attempt to counteract the persistence of fading memories as well as represent a shift in symbolic meaning.
Abstraction first appeared in Moritz’s work in 2015; until then she had been known for her figurative paintings. This departure allowed her to develop a profoundly unique practice.
Sabine Moritz was born in 1969 in Quedlinburg, Germany. She attended the Hochschule für Gestaltung in Offenbach and the Kunstakademie in Düsseldorf where she studied under Markus Lüpertz and Gerhard Richter. She currently lives and works in Cologne.
Published on the occasion of her latest exhibition at Galerie Marian Goodman, Paris, the catalogue Sabine Moritz | Deeply Unaware features Moritz's recent body of abstract paintings and includes an essay by Robert Fleck.
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