【SPURS 新展】安塞姆·雷尔：平衡状态

安塞姆·雷尔：平衡状态

2023年4月1日至5月14日

Gallery I & II｜SPURS Gallery，北京朝阳区酒仙桥路二号院798艺术区D-06

马刺画廊荣幸地宣布将于2023年4月1日推出德国艺术家安塞姆·雷尔在画廊空间的首次个展。安塞姆·雷尔生于1970年，是工作于柏林的杰出的当代艺术家，因尺幅巨大且极富张力的抽象绘画、雕塑以及大型装置为人所熟知，消费社会的残余物、废弃材料和工业城市的景观在他的作品中起着核心作用。此次将在Gallery I & II双层空间展出其19件作品，囊括他作品中的各种标志性的元素：霓虹灯装置、现成品家具、铝箔绘画、陶瓷、草垛亚克力盒子以及他全新的抽象摄影作品。

安塞姆·雷尔的艺术创作与现代主义紧密相连，“平衡状态”可以理解为他作品中一直存在于对立的矛盾中——他在对现代主义传统进行借鉴与批判的同时不断创作与探索出新作品的一种趋势；同时在艺术形式语言上，他特意将如荧光色等不和谐的颜色、废弃回收物品、反光材料汇聚到画布或者装置中，让它们总是在稳定与失衡、冷静与紧张中寻求视觉上的平衡。

一层展厅中的“干草垛”系列、霓虹灯作品，是雷尔一直都在延续的创作。这次将展出的全新的“干草垛”系列中，他将喷过金属色的草封入彩色的透明盒子中，每个独立呈现就已经足够突出与鲜明的颜色被放置到一起，碰撞着“装饰性”与高雅艺术之间的边界。以《无题》（2022）为名的粗麻布绘画是雷尔近期作出的最新尝试，颜料、铝箔等材料的运用展现出更自由的状态，着重使用姿态绘画的方法将作品创作的过程呈现。同时展出的还有雷尔最新的抽象摄影作品，这些图像是在夜晚的城市中拍摄的，使用长曝光的方式拍摄的街道广告和人造灯光被抽象、溶解成了颜色纯度极高的光束。《吧台》（2020）和2011年的沙发装置《无题》将会把二层展厅变为介于展厅与客厅之间的状态，既打破了传统白盒子的氛围，这些现成品原本的功能也被掩盖，矛盾与复杂性由此铺陈开来。

展览将持续至5月14日。

Anselm Reyle: Equilibrium

1 April – 14 May 2023

Gallery I & II | SPURS Gallery, D-06, 798 Art Zone, 2 Jiuxianqiao Rd, Chaoyang District, Beijing

SPURS Gallery is honored to present their first solo exhibition of German artist Anselm Reyle at the gallery from April 1, 2023. Anselm Reyle (b.1970) is a distinguished contemporary Berlin-based artist, best known for the massive scale and tensity of his abstract paintings, sculptures, and large installations, where residues of the consumerist society, found materials, and spectacles of industrial cities play the core roles. Hereby in both Gallery I & II, 19 pieces of Reyle’s works will be showcased, covering the numerous signature elements in his art: neon light installation, redesigned furniture, foil paintings, ceramics, straw bales boxed in acrylic glass, as well as his brand new series of abstract photographs. 

Anselm Reyle’s art practice is in close connection with modernism. Therefore, “Equilibrium” may be interpreted as the constant condition of existing between conflicting dichotomies – as he borrows from and criticizes the modernist convention, Reyle never stops inventing and exploring the tendency for his new works; meanwhile, in terms of artistic language, he deliberately brings together disharmonious tones such as neon colors, discarded recyclable objects, and reflective materials onto his canvas or installation pieces, leaving them yearning for visual balance over the stability-disorder or calm-tension in-betweens.

The “Straw Bale” series and neon light works on the first floor is a continuation of Reyle’s ongoing lineage. In the new “Straw Bale” series, he sealed the metallic-coated hay into colorful translucent boxes. Each outstanding and bright already by themselves, juxtaposed to confront the boundary between “deco” and high art. The burlap painting Untitled (2022) shows Reyle’s recent practice with different medias like paint and foils, presenting a freer and more dynamic way of using those materials. It emphasizes the steps of gestural painting to reveal the process thereof. Also shown are Reyle’s latest abstract photography works. These pictures were taken at city nights. Captured under long exposure, advertisement by the street and artificial lights are abstracted and dissolved into highly saturated beams of light. Bar (2020) and the sofa installation, Untitled (2011) will turn the second floor into something ambiguous, swinging between a gallery space and a living room, simultaneously breaking the atmosphere of the conventional white cube and covering up the original function of these objects so that contradiction and complexity may unfold.

The exhibition is on view until May 14.

关于艺术家

安塞姆·雷尔，摄影：Verena Bruening｜Anselm Reyle, photographed by Verena Bruening

安塞姆·雷尔，生于1970年，是德国最杰出的当代艺术家之一。1997年从卡尔斯鲁厄国立美术学院毕业后不久，他搬到了柏林。他因其大尺幅、超精细的抽象绘画、雕塑和精心制作的带有霓虹灯元素的装置而被人熟知。2009年起，艺术家在汉堡美术大学绘画系担任教职。

在专注于绘画和雕塑之前，雷尔最初的兴趣在于景观设计和音乐。他深受20世纪60年代的迷幻艺术启发，尤其注意早期朋克运动中荧光色硬边“政宣”风格的平面设计。他的作品——从大尺幅的抽象绘画到辨识度极高的雕塑——通常能够给人留下非常深刻的印象。

雷尔经常用到抽象图形、人工色，以及非传统材料，例如铝箔纸、稻草包、橱窗中的聚酯薄膜；他同时会利用一些社会发展中所产生的工业废料，例如金属材料——汽车零件、损坏的电脑设备或玻璃进行创作。颜料，塑型膏以及汽车漆也经常出现在他的作品中。

雷尔的很多作品呈现出高度反光的效果，色彩鲜明夺目，并且往往因为使用了霓虹灯或LED而成为名副其实的发光体，有时还会被罩上亚克力玻璃。他更喜欢运用不和谐的色彩搭配，作品中条纹的质地也很特别，例如银色的铝箔纸和闪光的黑色砂纸就几乎不见于一般的色域作品。

在战后抽象的浪潮中，雷尔讽刺形式主义者的幻想，同时一丝不苟地继续其条纹绘画的创作。他批判地反思主流的品味准则，以及有时带有乌托邦色彩的现代抽象理想，试图在作品中挑战媚俗与高雅艺术的分别。

Anselm Reyle, born in 1970, is one of Germany's leading contemporary artist. Shortly after graduating from the Staatliche Akademie der Bildenen Künste Karlsruhe in 1997, he moved to Berlin. He is well known for his large-scale, ultra-refined abstract paintings, sculptures and elaborate installations with neon elements. Since 2009 the artist teaches as a professor for drawing and painting at the Hochschule für bildende Künste in Hamburg.

Reyle took an early interest in landscape design and music before finally settling on painting and sculpture. He was inspired by 1960s psychedelia and especially the Day-Glo hard edge agitprop look of graphic design in early punk movement. His works are made of striking memorability; he produces large scale abstract paintings and recognizable sculptures.

Reyle frequently makes use of abstract shapes, artificial color and unconventional materials, such as silver foil, straw bales, mylar found in shop windows; he involves useless residues from our civilization, such as metallic material, like car parts, shattered computer equipment or glass elements in his art works, and paints, amongst others, with acrylic pastes and car lacquers. 

Many of his works have highly reflective surfaces, supported by vivid and flashy coloring, often resulting in literally glowing creations with neon lights or pulsating LED’s, sometimes framing his work in Plexiglas boxes. He employs rather jarring colors combinations and his stripes also bear wildly varied textures, including silver foil and glittering black sandpaper, that hardly conform to the Color Field style. 

Riffing on postwar abstraction, he pokes fun at formalist conceits, as in his meticulously executed vertical stripe paintings. Reyle critically reflects not only upon the prevailing codes of taste but also the, sometimes utopian, ideals of Modern abstraction, creating something that blurs the distinction between kitsch and high art.

安塞姆·雷尔过往回顾阅读：

【SPURS 美术馆展览】“当我们谈论永恒时”登陆阿那亚艺术中心

【SPURS 美术馆展览】闭幕之后，再谈“永恒”

SPURS 即将展出

安塞姆·雷尔：平衡状态

2023年4月1日至5月14日

Gallery I & II｜SPURS Gallery，北京朝阳区酒仙桥路二号院798艺术区D-06