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梧桐系列雕塑展——“对话 — 中德7人雕塑展”

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梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

主办单位 | SPONSOR

上海梧桐美术馆（中）

协办单位 ｜SURPORT UNIT

上海闵行区万青堂文化艺术中心

学术主持 | ACADEMIC HOST

朱国荣 | Zhu Guorong

策展人 | CURATOR

林依峰 | Lin Yifeng

展览时间 | DURATION

2022年9月25日—2022年10月23日

September 25th,2022 — October 23rd,2022

展览地点 | EXHIBITION VENUE

上海梧桐美术馆

（上海市嘉定区金园四路258号）

Wutong Art Museum

(No. 258, Jinyuansi Road, Jiading District, Shanghai)

支持媒体｜SURPORT MEDIA

新华网、腾讯、网易新闻、雅昌、艺术头条、搜狐网、在艺、今日头条

参展艺术家

(德国艺术家)

托马斯·吕特/THOMAS ROTHEL

瑞纳·党坦茨/RENE DANTES

克里斯第·杨·鲁道夫/CHRISTIAN RUDOLPH

克莱门斯·胡特尔/CLEMENS HUTTER

(中国艺术家）

周嘉政 | Zhou Jiazheng

刘庆安 | Liu Qingan

邹东方 | Zou Dongfang

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

前言

雕塑是一种“默语”艺术，是靠它的形体语言来说话的。它无声，却有气息；静穆，却内含动感。现代雕塑打破了几千年来套在雕塑上的桎梏，让它动了起来，让它发出声响来，把雕塑的边界无限制地向外拓展。但是也有不少雕塑家反其道而行之，他们从雕塑的本体语言——形体、空间和材料上去开发，挖掘。“对话——中德7人雕塑展”的参展者便是这样的一群吟游于抽象世界返璞归真的艺术家。

老子说“大音希声，大象无形”，布朗库西说“外表的形象并不真实，真实的是内在的本质。”两位分属东西古今的学者道出了一个美学上的真谛，即可视的与可悟的不一定是递进关系，有时候可悟的甚至要比可视的更觉深刻。

7人中唯一的女雕塑家邹东方以立式的结构，充满弧线的形体创造出只属于女性的生命体。它们来自于大自然，但是并不见于大自然。空间侵蚀了它们的肌体，同时又支撑起了生的形态，涌动于忽粗忽细的金属线条与块面里，似在演绎“有生于无”的哲学道理。

刘庆安的作品在形态表现上恰恰与邹东方形成对比，切割下来的带着“硬边”的钢板构架起造物的“领地”。它们把空间包装进开放的结构里，与“凿户牖以为室，当其无，有室之用”之说甚为契合。而另一些作品则以搭建的方式向上空繁华，显示出生长的力量。

对材料的选择与运用，向来是雕塑家创作观念的体现，从以往重于表现材料的美感到今天看重材料在文化维度上的含意，表明对材料内在精神属性的认识正在提升。有意思的是，这次展出的中德7位雕塑家不约而同地都选择了金属材料来创作，无论是坚挺框架式的，还是柔软构成式的，是聚合在一起的，还是分开置立的，都呈现出某种单一的纯粹性，让他们的对话有了一个共同关心的话题：21世纪的金属雕塑如何进一步向内开掘表现力，向外介入社会。过去我一直以为材料是决定雕塑创作手段的，当看到托马斯·吕特用实钢切割和扭伸完成的作品后，感到新的观念、新的手段能够赋予金属材料新的美感。

在7位雕塑家中，周嘉政在材料的选用上是唯一有别于他人的。他对现成品和废弃物有着天生的敏感性和创造欲，他将金属铸造与自然界的石头、木头结合，为作品内在含义的表达提供了另一种样式。展出的《巴黎协议》系列作品采用浇铸的手段将铜与自然界的树木、石头，以及工业废弃物齿轮等融合来表达他对气候变化、环境污染等世界大事的关注。

材料也是有生命力的。对雕塑家来说，终极的美学挑战在于创造出一种超越材料本身形态的艺术语言。这也是“对话”这个雕塑展览给予我的思考。

朱国荣 2022年3月

注：文中未注明出处的引文均引自老子《道德经》

Dialogue: Sculpture Exhibition of Seven Chinese and German Artists

Preface

Sculpture is a "silent art" that speaks with its language of form and structure. It is silent, yet it also breathes; it is tranquil, yet it is also full of vitality. Modern sculpture breaks the shackles that have been set on sculpture for thousands of years. It makes sculptures move, makes them sound, and expands their boundaries to as far as can be reached. But there are also many sculptors who do the opposite. They develop and excavate artworks from the ontological language, such as shape, space, and material of sculptures. The exhibitors of Dialogue: Sculpture Exhibition of Seven Chinese and German Artists are such a group of artists who wander in the abstract world with their souls dwelling in the simplicity of nature.

"Great music has the faintest notes, whilst profound image is beyond form," said Lao Zi, a philosopher in the Spring and Autumn Period. “What is real is not the external form, but the internal essence of things,” said Constantin Brancusi. The two scholars, one from the East while the other the West, and one from the ancient while the other the modern age, have revealed an aesthetic truth, that is, the visible and the comprehensible are not necessarily in a progressive relationship; sometimes the comprehensible has even more profound connotations than the visible one does.

Zou Dongfang, the only female sculptor among the seven, used a vertical structure and a form of arcs to create a life that belongs only to women. The form comes from nature, but is not found in nature. The space erodes the body of the sculpture, and supports its form of life in the meantime. The crisscrossing of the thick and thin metal lines and blocks seem to be deducing the philosophical truth of "being comes from nothing".

Liu Qing'an's artworks are in contrast to Zou Dongfang’s in terms of morphological expression. The frame constituted of "hard-edged" steel plates form the creation's "territory" and packs the space into an open structure, which is exactly consistent with the saying that "The door and windows are cut out (from the walls) to form an apartment; but it is on the empty space (within), that its use depends. Therefore, what has a (positive) existence serves for profitable adaptation, and what has not that for (actual) usefulness." Other artworks are built up high to form a prosperous view, with the intention to manifest the power of growth.

The selection and use of materials has always been a way to embody the sculptors’ creative concepts. The shift from the emphasis on expressing the beauty of materials in the past to today's emphasis on the cultural dimension of materials reflects the perceptual improvement of the intrinsic spiritual properties of materials. Interestingly, all of the seven Chinese and German sculptors in this exhibition chose metal materials to create their artistic works. Whether they are rigid frames or soft compositions, aggregated or set apart, they all present a certain singularity and purity, which show a common concern of their dialogue: how can the 21st century metal sculpture further explores its inner expressive power, while intervening in the outer society? In the past, I always thought that it is the material that determines the means of sculpture creation. But when I saw Thomas Rutte's works completed with cut and twisted solid steel, I realized how new concepts and new methods could add to new aesthetics to metal materials.

Zhou Jiazheng differs from all the other six sculptors in the selection of materials. He has a natural sensitivity and desire to create with ready-made objects and waste. By combining metal casting with natural stone and wood, he creates another form of expression of the inner meaning of artworks. The works of Paris Agreement series on display use casting method to integrate copper with natural trees, stones, and industrial waste gears. In this way, he hopes to express his concern for major world issues, such as climate change and environmental pollution.

Materials also have vitality and liveliness. For the sculptor, the ultimate aesthetic challenge is to create an artistic language that transcends the form of the material itself. This is also what the dialogue-themed sculpture exhibition has inspired me to think about.

Zhu Guorong Mar. 2022

Note: All the quotations without indication of sources are quoted from Lao Zi's Tao Te Ching

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

托马斯·吕特|THOMAS ROTHEL

1969年出生于德国安斯巴赫。

曾在马斯巴赫/中法兰克学习木材雕刻。

1992年至1998年曾就读于纽伦堡美术学院。

1995年获学士学位。同年，他开始了著名钢铁雕塑的创作。

他是一位享誉欧洲的著名雕塑家，作品遍布广场、绿地、街道等公共生活空间。

THOMAS RÖTHEL, born in 1969 in Ansbach, Germany, studied wood carving in Masbach/Middle Francia. He studied at the Nuremberg Academy of Fine Arts from 1992 to 1998, and graduated with Bachelor’s degree in 1995. In the same year, he initiated the creation of the famous steel sculpture. He is a well-known European sculptor whose works have spread all over public living spaces such as squares, green spaces, and streets.

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《Drehung breit 270度》

45.5X32.5X32.5cm 实钢 2016年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《Drehung 270度》

61.5X17.5X17.5cm 实钢 2017年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客《Vertikale Entwicklung 270度》

43X14X14cm 实钢 2017年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《Drehung XXX》

21.5X21.5X97cm 实钢 2014年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

瑞纳·党坦茨|RENE DANTES

1962年出生于德国普福尔茨海姆。

1982年至1987年在维也纳精美艺术学院学习绘画。

1987年至1990年，就读于巴黎贝克大学，自后成为一名自由雕刻家。

1988年开始他的雕塑里程，在许多国际艺术展崭露头角并获奖无数。他的作品主要是用钢铁打造，并广泛呈现在公共生活空间。

René Dantes, born in 1962 in Pforzheim, Germany, studied painting at the Academy of Fine Arts in Vienna from 1982 to 1987. From 1987 to 1990, he studied at the University of Paris Baker. He began his sculptural career in 1988 and has made his mark at various international art exhibitions and won numerous awards. His works are mainly made of steel and widely displayed in public living spaces.

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《NORA》

30X30X100cm 不锈钢及花岗岩底座 2017年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《VERA》

30X30X100cm 不锈钢及大理石底座 2017年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《ELLA》

30X30X100cm 不锈钢及大理石底座 2016年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

克里斯第·杨·鲁道夫|CHRISTIAN RUDOLPH

1959年出生于德国阿沙芬堡，曾为金匠学徒。

1986年至1991年在纽伦堡美术学院学习。

1991年获硕士学位。

自 1996 年起从事建设性雕塑领域的艺术创作，并参加建筑艺术和公共空间艺术领域竞赛、个展及国内外展览。

现于伊尔西和阿尔高工作生活。

CHRISTIAN RUDOLPH, born in 1959 in Aschaffenburg, Germany, was an apprentice goldsmith. He studied at the Academy of Fine Arts in Nuremberg from 1986 to 1991, and graduated with Master's degree in 1991. Since 1996, he has been engaged in the field of constructive sculpture. He has participated in competitions, solo exhibitions, and domestic and international exhibitions in the field of architectural art and public space art. He currently lives and works in Ilse and Allgäu.

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《RS 5A3》

30X20X18cm 铜及石灰座 2015年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《RS 5A1》

30X20X18cm 铜及石灰座 2015年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

《D6》

28X50X28cm 铜及石灰座 2006年

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客

克莱门斯·胡特尔|CLEMENS HUTTER

1984年出生于德国巴斯

2005年至2011年在纽伦堡艺术学院学习

2018年担当铁匠托马斯·罗瑟助理，2012年成为自由艺术家

2014年成为巴伐利亚职业艺术家联合会会员，并于2016年获得青年艺术奖。

现居住在巴伐利亚.拉斯巴赫工作。

CLEMENS HUTTER, born in 1984 in Bath, Germany, studied at the Academy of Fine Arts in Nuremberg from 2005 to 2011. He worked as an assistant to the well-known European sculptor THOMAS RÖTHEL until 2018. He became a freelance artist from 2012. He has been a member of the Bavarian Federation of Professional Artists from 2014 and won the Young Art in 2016. He currently lives and works in Reisbach.

梧桐系列雕塑展——“对话 — 中德7人雕塑展” 崇真艺客