{{sindex}}/{{bigImglist.length}}

户尔柏林 | 莱亚·冯·温琴格罗德艺术项目「黑夜吞噬万物」The Night Eats All Objects

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

户尔柏林 | 莱亚·冯·温琴格罗德艺术项目「黑夜吞噬万物」The Night Eats All Objects 崇真艺客

黑夜吞噬万物

The Night Eats All Objects

艺术家 Artist

莱亚·冯·温琴格罗德

Lea von Wintzingerode

with

阿德里亚娜 · 戈沃兹登诺维奇

Adrijana Gvozdenovic

菲利佩 · 利普

Filipe Lippe

保罗 · DD · 史密斯

Paul DD Smith

展期 Duration

26 April – 15 June 2024

地址 Address

户尔空间·柏林

波茨坦大街81b麦卡托庭院内

Hua International Potsdamer Str. 81b, 10785 Berlin

户尔空间很荣幸为您呈现展览「黑夜吞噬万物」，这是由出生于德国，现居柏林的艺术家莱亚·冯·温琴格罗德（Lea von Wintzingerode）发起的一个持续演变的实验沙龙。该展览融合了诗歌、声音、社会雕塑和其他平行项目。莱亚·冯·温琴格罗德（Lea von Wintzingerode）通过设计这个展览，以延伸她提出的“绘画和声音艺术本质上是一种社会实践”的观点。展览将包含一系列的声音实验和沙龙活动以促进与观众的互动和对话。本次展览的合作艺术家包括：Paul DD Smith 的绘画和蚀刻作品，Adrijana Gvozdenovi?提供的基于研究的作品，Filipe Lippe，即Cosmic Slop先生，将分享一个非洲激进音乐场域与昨日至未来的颠覆性声音实验的档案。

展览围绕莱亚·冯·温琴格罗德（Lea von Wintzingerode）的新的大尺寸绘画作品：《安排》（2024），描绘了源自1920年代两个未知来源照片上的两个卡巴莱表演者，在画中的盒子既像混凝土基座又像戏剧舞台。这幅画探讨了记忆、再现和神秘学主题，将历史探究与当代批评相结合。与这幅画相邻的是莱亚·冯·温琴格罗德（Lea von Wintzingerode）的声音装置作品《多元欲望2》（2024），由艺术家本人作曲。这个装置用层叠的声音填满了空间，同时彩色灯光改变了房间的气氛，墙上的涂鸦，基于1976年在巴黎喷涂的一段法语诗歌的片段，为视觉和听觉体验增添了文本深度。

Hua International is pleased to announce the forthcoming exhibition, The Night Eats All Objects, an ever evolving experiment salon initiated by German-born and Berlin-based artist Lea von Wintzingerode, which weaves together poetry, sound, social sculpture and parallel projects. Von Wintzingerode has designed this exhibition to extend her view that painting and sound art are fundamentally social practices. A series of listening sessions and gatherings will foster interaction and discourse with viewers. Collaborating artists: Paul DD Smith will contribute paintings and etchings, Adrijana Gvozdenovi? will contribute research-based works, and Filipe Lippe, also known as Mr. Cosmic Slop, will share an archive of Afrodiasporic radical music positions and disruptive sound experiments from yesterday to beyond.

Central to the presentation is a new large-scale painting by von Wintzingerode, “the arrangement” (2024) depicting two figures, derived from an unknown source photo from the 1920s of two cabaret performers, posing within boxes that in the painting resemble both concrete plinths and theatrical stages. The painting explores themes of memory, representation, and the uncanny, blending historical inquiry with contemporary critique. Accompanying the painting is a sound installation titled "polyvalent desires 2” (2024), featuring a composition by von Wintzingerode herself. This installation fills the space with layered sounds while colored lights transform the room's atmosphere, and graffiti, based on a fragment of a French poem spray-painted in Paris in 1976, adorns the walls, adding a textual depth to the visual and auditory experience.

户尔柏林 | 莱亚·冯·温琴格罗德艺术项目「黑夜吞噬万物」The Night Eats All Objects 崇真艺客

莱亚·冯·温琴格罗德（Lea von Wintzingerode）展示了一系列新的拼贴和绘画作品，以继续她挑战传统艺术角色的探索。作为这个项目的发起人，莱亚·冯·温琴格罗德（Lea von Wintzingerode）邀请其他艺术家加入她的集体和感性研究，强调参与和想象在重定义艺术视角中的作用。这次合作旨在突破传统艺术形式的界限，以增强创意表达中的动态互动。

她的艺术作品作为替代欲望模式的关键场所，使观众能够超越当下的复杂性，感受到一个充满可能性、空隙、重叠、不和谐和意义的多重性的开放网格。值得注意的是，莱亚·冯·温琴格罗德（Lea von Wintzingerode）的方法涉及基于个体记忆的摄影和材料研究绘画，强调了记忆的介入和易错性。这种方法不仅承认了她的绘画作品是“开放”的，而且还邀请了观众在创作过程一起完成叙事。《黑夜吞噬万物》超越了传统的展览形式，将其重新定义为探索艺术的社会维度和促进社区对话的平台。它挑战了观众与艺术家之间的界限，并深入探讨了艺术作为一个公共对话媒介的潜力。

Lea von Wintzingerode presents a new series of collages and paintings that continue her exploration of challenging conventional art roles. As the initiator of this collaborative endeavor, von Wintzingerode invites fellow artists to join her in a collective and sensual inquiry into sensibility, emphasizing the role of participation and imagination in redefining artistic perspectives. This collaboration aims to push the boundaries of traditional art forms and create a dynamic interplay of creative expressions.

Her artworks serve as critical sites for alternative modes of desire, enabling viewers to see beyond the present’s complexities with an open mesh of possibilities, gaps, overlaps, dissonances and multiplicities of meaning. Significantly, von Wintzingerode’s method involves painting from memorized photographs and research material, underscoring the mediated and fallible nature of memory. This approach not only acknowledges the “open work” of her paintings but also involves the viewer in the creative process, inviting them to complete the narrative. "The Night Eats All Objects" transcends traditional exhibition formats, redefining it as a platform for exploring the social dimensions of art and fostering community dialogue. It challenges the boundaries between audience and artist and delves into the potential of art as a communal and dialogic medium.

户尔柏林 | 莱亚·冯·温琴格罗德艺术项目「黑夜吞噬万物」The Night Eats All Objects 崇真艺客

莱亚·冯·温琴格罗德 Lea von Wintzingerode

the arrangement, 2024

布面油画 Oil on canvas

150 x 110 cm

户尔柏林 | 莱亚·冯·温琴格罗德艺术项目「黑夜吞噬万物」The Night Eats All Objects 崇真艺客

莱亚·冯·温琴格罗德 Lea von Wintzingerode

phonosynth，2020

布面油画 Oil on canvas

60 x 60 cm

户尔柏林 | 莱亚·冯·温琴格罗德艺术项目「黑夜吞噬万物」The Night Eats All Objects 崇真艺客

莱亚·冯·温琴格罗德 Lea von Wintzingerode

just bc I'm not tattooed / sub-culturally lonely, 2020

布面油画 Oil on canvas

42 x 40 cm

展览进一步讨论了马塞尔·杜尚提出的“无限”的概念，无限是对内省、回顾和前瞻理解的渠道，将Lea的作品置于包括时尚、音乐和诗歌在内的更广泛的文化背景中。作品中的细节，如绘画人物所戴的几乎看不见的帽子，象征着对时尚元素的吸收并将其分散到更广泛的叙事中，强调了记忆的抽象性和非传统空间的象征意义。这些空间，类似于梦中的空间，是我们潜意识中不断变化的图像和想法的替代品。

The exhibition further explores the concept put forth by Marcel Duchamp of the “infinitude” and which the infinite is a lens for intro-spective, retrospective and prospective understanding, situating von Wintzingerode’s work within a broader context of cultural productions including fashion, music, and poetry. Details in the artworks, like the barely visible hats worn by the painted figures, symbolize the absorption and dispersion of fashion elements into a broader narrative, emphasizing the elusiveness of memory and the symbolic significance of unconventional spaces. These spaces, akin to those encountered in dreams, serve as stand-ins for the flux of images and ideas that populate our subconscious.

ABOUT

the Artist

关于艺术家

户尔柏林 | 莱亚·冯·温琴格罗德艺术项目「黑夜吞噬万物」The Night Eats All Objects 崇真艺客

莱亚·冯·温琴格罗德

Lea von Wintzingerode

1990 年出生在德国拜罗伊特｜现工作生活于柏林

Born in Bayreuth in 1990 | Lives and works in Berlin

莱亚·冯·温琴格罗德毕业于维也纳美术学院和汉堡美术学院。2016 年，在Jutta Koether 教授指导下获得美术硕士学位。

奖项：2020 年巴伐利亚美术奖（Bayerischer Kunstf?rderpreis fu?r Bildende Ku?nste），2014 年至2015 年Marianne-Defet-Malerei-Stipendium，Marianne und HansfriedrichDefet Stiftung。

展览（精选）：

“notes on radical love”，奥登伯格艺术协会，德国（个展）（2022 年）；

“Bavarian Award for the Advancement of the Arts 2020”，BBK，慕尼黑，德国（群展）（2021 年）；

“Laetitia”，Jacky Strenz 画廊，法兰克福/ 梅因，德国（个展）（2020 年）；

“City Prince/sses”（与Hugo Vitrani 和Chris Sharp 合作），东京宫，巴黎，法国（群展）（2019 年）；

“The Contract”，Lulu Annex（与Chris Sharp 合作），墨西哥城，墨西哥（个展）（2019年）；

“The Shelter Hidden in the Eyes”，行为表演，Deichtorhallen，摄影之家，汉堡，德国（2018 年）；

“Exhibition Paintings”，Kunst Meran，意大利（群展）（2017 年）；

“Independence Day II”，（与Oriane Durand 和 Line Ebert 合作），SII，Sommer Gallery，特拉维夫，以色列（群展）（2017年）；

“Marianne Defet Malerei Stipendium”，Kunsthalle Nu?rnberg，纽伦堡，德国（群展）（2016 年）；

“Young Team”，Kunstverein Nu?rnberg – Albrecht Du?rer Gesellschaft，纽伦堡，德国（个展）（2015 年）。

Lea von Wintzingerode studied at the Academy of Fine Arts, Vienna and the University of Fine Arts, Hamburg. In 2016 she graduated with a Master of Fine Arts degree under Prof. Jutta Koether.

Exhibtions (selection):

notes on radical love, Oldenburger Kunstverein, DE (Solo) (2022);

Bavarian Award for the Advancement of the Arts 2020, BBK, Munich, DE (Group) (2021);

Laetitia, Jacky Strenz, Frankfurt/Main, DE (Solo) (2020);

City Prince/sses (c: Hugo Vitrani and Chris Sharp), Palais de Tokyo, Paris, FR (Group) (2019);

The Contract, Lulu Annex (c: Chris Sharp), Mexico City, MX (Solo (2019);

The Shelter Hidden in the Eyes, Performance, Deichtorhallen, Haus der Photographie, Hamburg, DE (2018);

Exhibition Paintings, Kunst Meran, IT (Group) (2017);

Independence Day II, (c: Oriane Durand and Line Ebert), SII, Sommer Gallery, Tel Aviv, IL (Group) (2017);

Marianne Defet Malerei Stipendium, Kunsthalle Nu?rnberg, Nu?rnberg, DE (Group) (2016);

Young Team, Kunstverein Nu?rnberg – Albrecht Du?rer Gesellschaft, Nu?rnberg, DE (Solo) (2015).

阿德里亚娜 · 戈沃兹登诺维奇

Adrijana Gvozdenovic

1986年出生于黑山 | 现工作生活于柏林

Born in Montenegro in 1986 | Lives and works in Berlin

阿德里亚娜 · 戈沃兹登诺维奇（Adrijana Gvozdenovic），1986年出生于黑山，现工作生活于柏林。她聚焦于视觉艺术、表演和艺术研究领域，将艺术创作视为创造新形式的相互参与的方式，并经常将作品作为对话工具或集体研究。在2017年至2020年间，她是a.pass研究中心和安特卫普皇家美术学院的助理，专注于“艺术焦虑的归档”。这一时期影响了她创作跨媒介作品，这些作品融合了知识生产的情感和情感方面，例如卡片阅读表演“7个焦虑和世界”。她的作品曾在nGbk（柏林）、kaaistudios（布鲁塞尔）、tranzit（布拉迪斯拉发）、Whitechapel Gallery（伦敦）、Glasmoog（科隆）、MuHKA（安特卫普）、Kunstmuseum Liechtenstein（瓦杜兹）以及第54届十月沙龙（贝尔格莱德）展出。她的文本发表在以下书籍中：“在这种情况下：关于合作、表演性、自组织和跨学科研究实践（ In these circumstances: On collaboration, performativity, self-organization and transdisciplinarity in research-based practices）”，Philippine Hoegen & Lilia Mestre（编辑），Onomatopoeia 181. 2022；“艺术家工作描述（The Artist Job Description）”，Vijai Patchineelam（编辑），Track Report（安特卫普皇家美术学院），Track Report，安特卫普，2021；“奇异吸引力（Strange Attractors）”，Nomadum Rosa Masilela（编辑），KUNST-WERKE BERLIN e. V. 2018，柏林双年展。

Adrijana Gvozdenovic (b.1986) lives and works in Berlin, is a Montenegro- born artist whose practice develops in the fields of visual art, performance and artistic research. She sees art-making as a way to create new forms of mutual engagement, often producing works as conversational tools or for collective study. Between 2017 and 2020, she was an associate at the research centers a.pass and the Royal Academy of Fine Arts in Antwerp, focusing on "Archiving artistic anxieties". This period influenced her creation of hybrid works that blend emotional and affective aspects of knowledge production, such as the card reading performance "7 anxieties and the world". Her work has been shown at nGbk (Berlin), kaaistudios (Brussels), tranzit (Bratislava), Whitechapel Gallery (London),Glasmoog (K?ln), MuHKA (Antwerp), Kunstmuseum Liechtenstein (Vaduz), and at the 54th October Salon (Belgrade). Her texts have been published in books: "In these circumstances: On collaboration, performativity, self-organization and transdisciplinarity in research-based practices," Philippine Hoegen & Lilia Mestre (eds.), Onomatopoeia 181. 2022., “The Artist Job Description,” Vijai Patchineelam (ed.), Track Report (Royal Academy of Fine Arts Antwerp), Track Report, Antwerp. 2021, “Strange Attractors,” Nomadum Rosa Masilela (ed.), KUNST-WERKE BERLIN e. V. 2018. X Berlin Biennale.

菲利佩 · 利普

Filipe Lippe

1986年出生于巴西 | 现工作生活于柏林

Born in Brazil in 1986 | Lives and works in Berlin

菲利佩 · 利普（Filipe Lippe），1986年出生于巴西，现工作生活于柏林，是一位来自巴西杜克德卡伊克斯的艺术家和研究员。他的作品跨越多种媒介和学科，包括绘画、学术研究、讲课和写作。他正在德国汉堡HFBK攻读艺术理论博士学位，专注于历史创伤、种族身份和后殖民主义在新自由主义背景下的相互作用。

Filipe Lippe (b. 1986) lives and works in Berlin and is an artist and researcher from Duque de Caixas, Brazil, whose work spans various media and disciplines, including drawing, academic research, lecturing, and writing. He is pursuing a PhD in art theory at HFBK Hamburg, focusing on the interplay of historical trauma, racial identity, and late-colonialism within the context of neoliberalism.

保罗 · DD · 史密斯

Paul DD Smith

1983年出生于英国 | 现工作生活于柏林

Born in Britain in 1983 | Lives and works in Berlin

保罗 · DD · 史密斯（Paul DD Smith），1983年出生于英国，现工作生活于柏林。他的作品涉及雕塑、绘画和平面作品，使用人物描绘和装饰来传达神话和深层人类历史的主题。他的作品深入探讨了手工技艺，如陶瓷、丝绸绘画、刺绣和版画，这些传统上被视为女性家庭领域的一部分，以挑战性别美学和二元对立的构建。在持续的研究中，史密斯开始对美学如何变得性别化以及如何构建二元对立感兴趣，而在他的艺术探索中，身体、生物和环境的概念深深地交织在一起成为一个整体。其重要展览包括，个展：The Left Place，Reims，2024；1646, The Hague，2023；群展：Stroboskop， Warsaw，2021；Kunstverein Springhornhof，Neuenkirchen，2022；Kinderhook and Caracas，Berlin，2020/21；Zarinbal Khoshbakt，Cologne，2020；Chert Lüdde，Berlin2019；Philip Haverkampf Galerie，2018。他于2020年在柏林ACUD画廊策划了群展“Flow My Tears Christopher Tracey”。

Paul DD Smith (b. 1983), lives and works in Berlin, is a British-born artist who works in sculpture, painting, and graphic works that use figuration and ornamentation to convey themes of myth and deep human history. His art delves into handcraft techniques like ceramics, silk painting, embroidery, and printmaking, traditionally seen as part of the feminine domestic sphere, to challenge gendered aesthetics and the construction of binaries. Doing this, Smith is interested in how aesthetics become gendered and how binaries are constructed, whilst in his artistic explorations concepts of bodies, creatures and environments are profoundly entangled and impossible to isolate. Notable exhibitions include solo presentations at The Left Place, Reims, 2024; (solo) 1646, The Hague, 2023; (solo), and group exhibitions Stroboskop, Warsaw, 2021; Kunstverein Springhornhof, Neuenkirchen (2022); Kinderhook and Caracas, Berlin (2020/21); Zarinbal Khoshbakt, Cologne (2020); Chert Lüdde, Berlin (2019); Philip Haverkampf Galerie (2018); He curated the group exhibition Flow My Tears Christopher Tracey at ACUD Gallery, Berlin in 2020.

关于户尔空间

About Hua International

户尔空间（Hua International）是一家位于柏林与北京两地的当代艺术画廊，展览、出版和公共项目致力于跨学科及行为表演的艺术实践。画廊专注于发展与艺术家长期动态的合作关系，以其地理上的两地性为依托，扩展艺术家及其作品在迥异文化背景下的展览和接受。

以 XC.Hua 为名，经历了两年实验艺术策展项目运营积累后，花笑婵于2020年8月正式更名成立了户尔空间（Hua International），并在北京798艺术区、柏林历史悠久的当代艺术中心之一麦卡托庭院分别设立空间。在常驻两地空间之外，户尔空间也在国际知名的艺术博览会展示其艺术家作品。

Hua International is a contemporary art gallery located in Berlin and Beijing whose exhibitions, publications, and public programming supports cross-disciplinary and performative artistic practices. The gallery focuses on developing long-term relationships with its represented artists and leverages its geographic bilocation as a means to critically expand how their work can be presented and received in radically diverse cultural contexts.

After two years curating the experimental art and performance project XC.Hua, Xioachan Hua founded Hua International in August 2020 and inaugurated the new gallery with spaces in Berlin’s historic Mercator H?fe and Beijing’s acclaimed 798 Arts District.