MGG现场｜探寻洛泰尔 · 鲍姆嘉通的“亚马逊宇宙”
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洛泰尔 · 鲍姆嘉通 / 个展“亚马逊宇宙”现场，玛丽安 · 古德曼巴黎画廊，2021
亚马逊宇宙
玛丽安 · 古德曼巴黎画廊荣幸举办洛泰尔 · 鲍姆嘉通（1944-2018）的作品展“亚马逊宇宙”。鲍姆嘉通是同代中最具影响力的德国艺术家之一。展览作为向艺术家的致敬，聚焦于他的早期作品，包括其标志性的电影《夜的起源（亚马逊宇宙）》（Origine of the Night（Amazon Cosmos））、一组精选的摄影作品、幻灯投影以及几件雕塑装置。洛泰尔 · 鲍姆嘉通安装作品《America Señores Naturales》，第41届威尼斯双年展现场，1984画廊一层空间展示的是他1984年在第41届威尼斯双年展德国馆展出并获得金狮奖的作品《America Señores Naturales》。这件讲述历史的装置，就像展览的其它作品一样，包含了艺术家观念性实践中的基本构成元素：凸显建筑及历史背景的重要性，对文字和版式的运用，以及其人类学探索作为直接的参照。
洛泰尔 · 鲍姆嘉通 / 《美洲-亚马逊、塔帕若斯、新古、普鲁斯、奥里诺科、沃佩斯、托坎丁斯》局部，1983-1984/2006 / 大理石，铜杆，羽毛 / 尺寸可变在《America Señores Naturales》（1984）中，鲍姆嘉通希望质问西方殖民的历史角色以及其思想体系。乔安娜 · 维克瑞-巴考（Joanna Vickery-Barkow）在近期发表的关于该作品的评论中写道：“他从建筑本身的地面抽走整排的大理石板，用带有‘美洲’及‘亚马逊’、‘塔帕若斯’、‘新古’、‘普鲁斯’、‘奥里诺科’、‘沃佩斯’和‘托坎丁斯’等河流名字的石板替换，并将它们与四种抽象的图标符号联系起来，试图将亚马逊河流域的地形结构置入威尼斯群岛。”在画廊空间，1984年作品中使用的大理石板在地上或铺展开来或叠加成堆，并结合铜管和鸟的羽毛，与艺术家2016年最后一次展示该作品时的方式一样。
洛泰尔 · 鲍姆嘉通 / 《四面体（金字塔）》，1968 / 颜料堆 / 30 x 40 x 35.5cm
由颜料构成的雕塑《四面体（金字塔）》（Tetahedron（Pyramids），1968）展现了艺术家早期对具有自发性且转瞬即逝的创作的兴趣。金字塔让人联想到古老的精英文化、脆弱性和短暂性。在该作品最初创作的年代，科隆迎来了世界首个艺术博览会，鲍姆嘉通深感将面对市场准则日益加强的制约，而这些临时性雕塑正是他对此的回应。洛泰尔 · 鲍姆嘉通 / 个展“亚马逊宇宙”现场，玛丽安 · 古德曼巴黎画廊，2021在地下展厅的艺术家早期作品，既有1968至1972年的《文化-自然（被操控的现实）》（Culture-Nature（Manipulated Reality））彩色摄影系列，也有记录临时在地雕塑的黑白摄影， 以及他1977年去南美洲首次旅行之前，在离家不远的莱茵河谷湿地搭建和拍摄的作品。
洛泰尔 · 鲍姆嘉通 / 《文化-自然》，1971 / C print / 摄影：54.6 x 81.9cm，装框：73 x 85.1 x 4.2cm
洛泰尔 · 鲍姆嘉通 / 《感官的大理石》，1969 / C print / 摄影：54.5 x 81.4cm，装框：84.6 x 66.8 x 4.5cm洛泰尔 · 鲍姆嘉通 / 《美洲豹的斑点永远不会消失》，1970 / C print / 摄影：54.9 x 81.9cm，装框：73 x 85.1 x 4.1cm
当把爬行动物和水池，丛林和甘蓝，金字塔和鼹鼠丘放置在一起，意义和表现形式是如此脆弱，而结构主义的二元性是如此显而易见，一目了然。洛泰尔 · 鲍姆嘉通 / 《蚊子》，1969 / 面包，鸽子羽毛 / 面包：每块5.1 x 9.5 x 3.8cm，插羽毛的面包：每块5.1 x 10.8 x 22.2cm，整体尺寸可变
在墙上装置作品《蚊子》（Moskitos，1969）中，鲍姆嘉通使用了鸽子羽毛和小面包块，将自然和文化中典型的元素组合成想象的物种。洛泰尔 · 鲍姆嘉通 / 《亚马逊宇宙/夜的起源》，1973-77 / 16毫米彩色影片转制蓝光及数码拷贝 / 102分钟，环绕立体声
洛泰尔 · 鲍姆嘉通 / 《亚马逊宇宙/夜的起源》，1973-77 / 16毫米彩色影片转制蓝光及数码拷贝 / 102分钟，环绕立体声
摄影：Rebecca Fanuele
近两个小时的电影《夜的起源（亚马逊宇宙）》（The Origin of The Night（Amazon Cosmos），1973-77）借鉴了南美土著图皮族的神话，是一场对热带雨林的沉思，拍摄地点却在杜塞尔多夫机场附近的莱茵河边。电影中，昼与夜、新旧世界、自然和文化的二分对立，以令人沉醉的方式徐徐展开。直到片尾字幕处，艺术家才揭开了影片中那些扣人心弦、富有诗意的画面源于何地。
洛泰尔 · 鲍姆嘉通 / 《一次旅行或“和MS Remscheid在亚马逊/冰箱星标下的一次旅行记录》，1968-71 / 81张幻灯，彩色及黑白摄影 / 14分钟，投影尺寸可变
摄影随想作品《Eine Reise oder ‘Mit der MS Remscheid auf dem Amazonas’/ Der Bericht einer Reise unter den Sternen des Kühlschranks》（一次旅行或“和MS Remscheidz在亚马逊”/冰箱星标下的一次旅行记录，1968-1971）结合了艺术家60年代末期记录一些临时在地雕塑的彩色和黑白图像，大部分是在室外拍摄，其中的摄影和文字是有关民族志学者西奥多 · 科赫-格伦伯格（Theodor Koch-Grünberg）和吉多 · 博吉尼（Guido Boggiani）在19世纪末的研究。 洛泰尔 · 鲍姆嘉通 / 《美洲》布展现场，1985-88Installed: Frank Lloyd Wright rotunda, Solomon R. Guggenheim Museum, New York, 1993.洛泰尔 · 鲍姆嘉通1944年生于德国莱茵斯堡，2018年在柏林逝世。他曾就读于卡尔斯鲁厄国立造型艺术学院（1968）以及杜塞尔多夫艺术学院（1969-71），并师从于约瑟夫 · 博伊斯。在1978年到1980年间，他和委内瑞拉奥里诺科地区的土著民族亚诺玛米人共同生活了18个月。曾为艺术家举办重要个展的国际艺术机构包括：马德里的索菲娅王后国家艺术中心博物馆水晶宫（2016）、西班牙桑坦德的博廷艺术基金会 （2012）、德国埃森的弗柯望博物馆（2011）、奥地利布雷根茨的奥地利布雷根茨美术馆（2009）、巴塞罗那的巴塞罗那当代艺术博物馆（2008）、德国克莱沃的柯豪斯艺术博物馆（2006）、纽约惠特尼美术馆（2003）、德国汉堡美术馆（2001）、日本东京和京都的国立近代美术馆（1996）、美国纽约古根海姆美术馆（1993）、美国匹兹堡的卡内基美术馆（1987）、法国巴黎蓬皮杜艺术中心（1987）、巴黎市现代艺术博物馆（1986）。鲍姆嘉通的作品曾参加第五、七、九以及十届卡塞尔文献展（1972，1982，1992，1997）。他曾获得的奖项包括2003年德国埃森的MFI艺术奖、1997年德国汉堡市的利其瓦克奖、1984年第41届威尼斯双年展金狮奖、1976年德国北莱茵-威斯特法伦州奖以及1974年德国杜塞尔多夫城市奖。
Lothar Baumgarten
Amazon Cosmos
Marian Goodman Gallery Paris
1 September 2021 - 7 October 2021
Galerie Marian Goodman is pleased to present an exhibition of works by Lothar Baumgarten. (1944–2018) As an homage to one of the most influential German artists of his generation, the exhibition focuses on his early works, including his iconic film, Origin of the Night (Amazon Cosmos), a selection of photographs, a slide projection, as well as several sculptural installations. His famous floor piece, America Señores Naturales, originally created for the German Pavilion at the 41st Venice Biennale in 1984, and for which he was awarded the Golden Lion prize, is shown on the ground floor of the gallery. This historical piece, alongside the other works in the show, encompasses the founding elements of Baumgarten’s conceptual practice, from the emphasis on the architectural and historical context, along with the preeminence of naming and typography, to references to his investigations on systems of representation.With America Señores Naturales (1984), Baumgarten wanted to challenge the historical role played by Western colonialism as well as its system of thought. In a new publication dedicated to the project, Joanna Vickery-Barkow notes that in "removing rows of the building's original honey-colored marble floor tiles and replacing them with new ones spelling the word America, the river names Amazonas, Tapajos, Xingu, Purus, Orinoco, Vaupes, and Tocantins, and depicting four abstract graphic symbols, he sought to 'impose the topographical structure of the Amazon basin onto the lagoon of Venice.'"1 On the ground floor, the original marble flagstones of the German Pavilion are either laid on the floor separately or piled one on top of the other, and juxtaposed with brass rods and natural feathers, following Baumgarten's instructions for the last installation of the artwork in 2016.The pigment sculpture Tetrahedron (Pyramid) (1968) illustrates the artist’s early interest in spontaneous and ephemeral interventions. It suggests archaic high culture, fragility and transience, and came as a response to the growing market conformity Baumgarten felt exposed to, with the advent of the first art fair in Cologne at the time.On view in the lower gallery is a selection of Baumgarten’s early works, such as color photographs from the 1968–72 series Culture-Nature (Manipulated Reality), as well as a number of black-and-white photographs mostly of ephemeral sculptural interventions, including some the artist staged and photographed before his first trip to South America in 1977 in the Rheinaue wetlands not far from his home. As a reptile meets a sink, jungle meets kale, and pyramids meet molehills, it also becomes clear how fragile meaning and representation are and how apparent the structuralist binarism is.In the wall installation Moskitos (1969) Baumgarten employs pigeon feathers and small bread loaves, combining typical elements from nature and culture to create an imaginary species.The nearly two-hour film Origin ofThe Night (Amazon Cosmos) (1973–1977), which references a myth of the indigenous Tupi people, is a meditation on the South American rain forest that was filmed in its entirety along the Rhine near Düsseldorf Airport. In it, the dichotomies of day and night, new and old worlds, and nature and culture unfold glacially and immersively. Only at the very end, in the film’s closing credits, does Baumgarten reveal where the compelling and poetic images were shot.The photographic essay Eine Reise oder ‘Mit der MS Remscheid auf dem Amazonas’/ Der Bericht einer Reise unter den Sternen des Kühlschranks (A Voyage or ‘with the MS Remscheid on the Amazon’/ The Account of a Voyage under the Stars of the Refrigerator) (1968-1971) combines color and black and white images of Baumgarten’s same ephemeral sculptures from the late 1960s, realized mostly outdoors, with photography and text related to the research of ethnologists Theodor Koch-Grünberg and Guido Boggiani at the turn of the 19th century.Lothar Baumgarten was born in Rheinsberg, Germany, in 1944 and died in Berlin in 2018. He studied at the Staatliche Akademie für bildende Künste, Karlsruhe (1968) and at the Staatliche Kunstakademie Düsseldorf (1969-71), where he was a student of Joseph Beuys. Between 1978 and 1980, he lived for a period of 18 months among the indigenous Yanõmami people in the Orinoco region, Venezuela. Lothar Baumgarten exhibited internationally and major solo shows have been held in museums such as the Museo Nacional Centro de Arte Reina Sofía and the Palacio de Cristal, Madrid, Spain (2016); Fundación Botín, Santander, Spain (2012); Museum Folkwang, Essen, Germany (2011); Kunsthaus Bregenz, Austria (2009); Museu d'Art Contemporani de Barcelona (MACBA), Spain (2008); Museum Kurhaus, Kleve, Germany (2006); Whitney Museum of American Art, New York, USA (2003); Hamburger Kunsthalle, Hamburg, Germany (2001); National Museum of Modern Art in Kyoto and Tokyo, Japan (1996); Solomon R. Guggenheim Museum, New York, USA (1993); Carnegie Museum of Art, Pittsburgh, USA (1987); Musée National d'Art Moderne - Centre Georges Pompidou, Paris, France (1987); and ARC/Musée d'Art Moderne de la Ville de Paris, France (1986). Lothar Baumgarten also participated in Documenta V (1972), VII (1982), IX (1992), X (1997) and was the recipient of the MFI Prize, Essen, Germany (2003); the Lichtwark Prize, City of Hamburg, Germany (1997); The Golden Lion, First Prize of the 41st Venice Biennale, Italy (1984); the Prize of the State of Nordhein-Westfalen (1976); and the Prize of the City of Düsseldorf, Germany (1974).
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