被巴赫一分为二的 又何止是具象或抽象？ | 国家美术·关注

展览时间：2022.8.20-2022.9.17

展览地点：北京 偏锋画廊

▲ 「恩里科·巴赫：100/100」展览现场，偏锋画廊，北京，2022

偏锋画廊当下正在呈现恩里科·巴赫个展“100/100”，由方志凌担任策展人。此次是巴赫在偏锋画廊举办的第三次个展，呈现其2020年以来的创作。他近期的作品将画面分为两个部分，每一部分都独立饱满，相加则构成更丰富的视觉冲突与平衡关系的作品——意味着巴赫已经从深受伊米·克诺贝尔（Imi Knoebel）影响的“再设计和简化”，步入一个更自由也更广阔的“微物世界”。

PIFO Gallery is presenting artist Enrico Bach’ s solo exhibition "100/100" . The exhibition is curated by Fang Zhiling. This is the third solo gallery exhibition of Bach with PIFO Gallery. There are some changes suggest that Bach has shifted from the influence of Imi Knoebel’s ideas of redesigning and material simplicity to a freer, bigger world of minor things. This is especially evident in Bach’s recent works created in the past two years, where he divided each painting into two sections with each section being self-independent and full of life. By combining different sections, the artist has constructed a growing overt visual conflict and a balanced relationship between sections.

▲「恩里科·巴赫：100/100」展览现场，偏锋画廊，北京，2022

恩里科·巴赫1980年出生于前东德的莱比锡，9岁随父母迁徙到卡尔斯鲁厄。这样的出身，很容易让人联想到马库斯·吕佩尔兹、格哈特·里希特、乔治·巴塞利兹、A·R·彭克等老一辈德国艺术家，以及以尼奥·劳赫为代表的“莱比锡画派”这些中国艺术界耳熟能详的出生于前东德的艺术家群体。

Enrico Bach was born in Leipzig in the former state of East Germany in 1980, he moved to Karlsruhe with his parents at the age of nine. Against this background, Bach easily reminds us of many other German artists of the old generation, who were born in East Germany and have been celebrated in the world of art in China, such as Markus Lüpertz, Gerhard Richter, Georg Baselitz, A. R. Penck and the artists in the New Leipzig School such as Neo Rauch being a principal representative.

但巴赫的作品中却几乎看不到与前东德的联系，他拥有快乐的童年时光，孩提时就迁徙到德国西部，并没有东西差异的深刻体验，当他在卡尔斯鲁厄开始学习艺术的时候，“莱比锡画派”已经非常引人注目，他对此却没什么兴趣，真正让他痴迷的，是绘画在当下的可能性。

The connection that Bach makes to the former state of East Germany, however, is minimal. This is most probably because Bach had a happy childhood and hadn’t had any considerable experience of the difference between the East and the West since his relocation to western Germany. Meantime, the New Leipzig School movement had become increasingly prominent when he studied art in Karlsruhe; and he was less interested in it. Instead, Bach’s obsessive interest in various possibilities for painting in the present has accrued over time.

▲  「恩里科·巴赫：100/100」展览现场，偏锋画廊，北京，2022

Bach’s paintings have pushed the boundaries between non-representational art and representational art. On one hand, his paintings epitomize the most sophisticated combination of geometric lines, shapes, and color blocks.

该平行的线条不管长短、多少、看起来都绝对平行，一个色块或一组线条由浅入深的渐变，绝对像高精度印刷般精确；画面的边角关系更常常精巧得令人乍舌——看起来就像是很典型的几何抽象绘画风格。

All of the parallel lines, regardless of the length and quantity, are parallelly juxtaposed. Be it a color blocking or a series of lines transitioning radiantly from light to dark, every single one is as precise as if being printed in high resolution. In particular, the accurate measures of the sides are brilliantly exquisite and astounding, which is entirely typical of geometric abstract paintings.

▲「恩里科·巴赫：100/100」展览现场，偏锋画廊，北京，2022

而另一方面，这些由几何线条、形状、色块精心构成的画面，却常常让人联想到一些并没有什么特殊含义的寻常物品：半开的百叶窗、拼合的瓷砖墙、随意叠放的文件、纵横交错的废纸条……

On the other hand, those scrupulously crafted images that are composed of geometric lines, shapes, and color blocks might oftentimes remind the viewers of a series of everyday objects, such as half-opened blinds, tiled walls, randomly stacked documents, and scattered scrap papers, etc.

▲ 恩里科·巴赫 《LBRB》 240 × 180 cm 布面油画 2021

不是细致入微地记录这些寻常物品的某个动人的视觉瞬间，而是抽取它们简洁的形状、微妙的视觉肌理、精致的人造色彩、以及繁复多变而又井井有条的工业化秩序……

Instead of meticulously recording a visual moment that can potentially touch the viewers, the artist draws on the simple shapes, delicate visual textures, and brilliant artificial colors, which altogether relate to tremendously varied, well-organized characteristics of the industry.

在一种冷淡的戏剧化的光影氛围中，这些往往泛着清冷的金属光泽（或电子屏幕散发出的荧光）的琐细物品被抽离了日常特性，以严肃的几何化的面目，井井有条地演绎着各自独特的视觉魅力。

With such a calm and theatrical atmosphere full of lights and shadows, the trivial objects glowing with a metallic finish—or the illuminating fluorescent screens— have been deprived of their fundamental characteristics. In perfect order, each of them takes on a unique visual sensibility in the presence of a strictly defined geometric form.  

本文摘自 / 方志凌《恩里科·巴赫的“微物剧场”》

▲「恩里科·巴赫：100/100」展览现场，偏锋画廊，北京，2022

_关于艺术家

恩里科·巴赫 | Enrico Bach

1980年生于德国莱比锡

2010年毕业于卡尔斯鲁厄艺术学院

2010至2011年于古斯塔夫·克鲁格教授研究生班学习

2013年获卡尔斯鲁厄艺术学院新秀奖

2012年获波恩艺术基金会奖金

2011年和2007年获卡尔斯鲁厄艺术学院奖

2010年获史蒂芬·巴尔肯霍尔驻地奖学金

他的作品被欧洲和亚洲许多重要艺术机构、私人收藏

现生活、工作于卡尔斯鲁厄

_关于画廊

偏锋画廊深信艺术的体验产生于一个又一个的变革中创造的新世界。艺术家的作品，正是探索世界的第三只眼睛。对于收藏家，我们为其提供专业知识，鼓励他们发掘个人独特的视角，只因两者的充分结合才能构建卓越的收藏。我们希望更多的藏家可以秉持鉴赏家的心态，更深入的理解当代艺术以及欣赏画廊发掘、重塑并坚信的艺术家。

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