TANK公告 ｜ “章鱼山”展览延期
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“章鱼山”展览反响热烈，油罐艺术中心希望邀请更多观众前来参观“章鱼山”，原定于6月2号闭幕的展览将延期至6月30日闭幕，欢迎大家前来观展！瑞士艺术家Rebekka Steiger现在在油罐艺术中心举办的展览展示了生活在东方和西方的影响。基于环游世界的经历和不同的文化视角的狂野想象力是显而易见的。她的作品融合了她从中国绘画中学到的自由和流动性的技术，同时多年前参加了该国的居住计划，描绘了自然与人之间的关系，以及使用书法笔法来描绘绘画中的主题。展览的标题取自展出的一幅画作章鱼山，来自她在广西壮族自治区桂林旅行的经历，在此期间，她发现许多山因其对动物的出现而得名。它指出了她作品中比较东方和西方文化的角度，这不断拓宽她的视野，丰富了她的思想。octopus moutain
2023
布面水墨和丙烯水墨
140 * 195CM
●关于艺术家
高嫣（ Rebekka Steiger，1993年生于瑞士苏黎世）现居住于苏黎世。她将绘画理解为一种“心态”。通过对形式和色彩驾轻就熟的融合，她发展出了迷人而强烈的视觉语言对我们所习以为常或相对陌生的事物加以处理，给观众以无尽的想象空间。高嫣于2016 年获得卢塞恩高等专业学院（HSLU）美术学士学位。之后，她于卢塞恩美术馆、格伦兴美术馆、麦勒画廊卢塞恩和麦勒画廊北京、瑞士拉珀斯维尔-乔纳Kunst (Zeug) Haus当代艺术中心举办个展，并参加了国内外诸多艺术机构举办的群展，包括深圳美成空间、苏黎世Haus Konstruktiv、麦勒画廊卢塞恩、麦勒画廊阿尔德茨和麦勒画廊北京。她曾于2018至2019 年在北京、2022 年至 2023 年在越南胡志明参加艺术驻留项目。
Rebekka Steiger在展览开幕现场
? 上海油罐艺术中心
●关于展览
本次展览汇集了艺术家高嫣过去六年的作品，呈现了她不断发展并日臻成熟的创作脉络。作品中充盈着具象的主题与抽象的动作，它们循环往复，出现于画面之上，绘画风格和视觉语言如此多样，唯有在细致的观察下，各幅作品之间的联系才逐渐了然。个人化的表达、抽象的构图、具象有时似乎蕴含象征指涉的内容，都在艺术家的技法实验中逐渐成形。
通过为画作命名，高嫣重新审视并回顾了那些她原本不能立即归类的内容，并赋予其清晰的语境。最近，这位艺术家开始围绕某些标题编织更多的故事。在这些“标题故事”中，高嫣用语言表达了一些在画作中不一定直观可见的元素，但这些元素与特定的作品有着紧密的联系：可能是因为它们在作品之前就存在，或是在创作过程中伴随而来，抑或在后来为作品寻找富有联想的标题时被添加，比如一段真实的个人经历、一个当代的历史事件，或是在寻求资料时的某个偶然发现。
高嫣的绘画作品并非由观念系列构成。同样，文本不仅可以与相应的画作匹配，也可以与其他作品建立联系。这些“标题故事”本身就自成一体，是整个作品脉络中独立的部分。与它们创作的时间相反，展览中的四段文本犹如一个个起点，就像“章节标题”。正是从这些文本出发，艺术家才得以将其不同阶段的作品加以串连、贯通。
blue streak
2020
布面水墨
190 * 240 cm
to where grey waters flow (乔志兵先生个人收藏）
2021
布面水墨
240 * 200 cm
此次展览为瑞士艺术家Rebekka Steiger在中国的首个机构个展，引起了瑞士使馆和领事馆的高度重视。
In English:
Swiss artist Rebekka Steiger's exhibition now on at Tank Shanghai art center shows the influence of living in both the East and the West. A wild imagination, grounded in the experiences of traveling the world and different cultural perspectives, is evident. Her works blend the techniques of freedom and fluidity she learned from Chinese painting, while taking part in a residency program in the country years ago, to depict the relationship between nature and people, as well as the use of calligraphy brushwork to depict subjects in paintings.The title of the exhibition is taken from one of the paintings on show, Octopus Mountain, and is derived from her experiences of traveling in Guilin, Guangxi Zhuang autonomous region, during which she found many mountains named because of their passing appearance to animals. It points to the angle of comparing Eastern and Western cultures in her work, which keeps widening her vision and enriching her mind. Rebekka Steiger (*1993, Zurich) lives in Zurich. She is an artist who embodies painting as a state of mind. The fusion of shapes and colors results in a fascinating visual language that suggests a progression into the unknown and sets no limits to the viewer’s imagination. Steiger graduated with a Bachelor in Fine Arts from the Hochschule Luzern (HSLU) in 2016. Since then, her works have been presented as solo exhibitions at the Kunstmuseum Luzern, Kunsthaus Grenchen, Galerie Urs Meile in Lucerne and Beijing, Kunst (Zeug) Haus in Rapperswil-Jona, and as part of a group exhibitions at Meicheng Space in Shenzhen, Haus Konstruktiv in Zurich, and Galerie Urs Meile in Lucerne, Ardez, and Beijing, among others. She spent 2018-2019 in residencies in Beijing, China and from 2022-2023 in Ho Chi Minh City, Vietnam.This exhibition assembles works by Rebekka Steiger from the past six years. What becomes visible is the webwork of Steiger's growing oeuvre. Strewn with recurring figurative motives and abstract movements, it is so diverse in style and visual language, that only upon closer inspection the connections between the individual paintings become apparent. Personal expression, abstract formations, figurative and sometimes seemingly symbolically charged content take shape in step with the artist's technical experimentation in her painting.By giving titles to her paintings Rebekka Steiger re-examines and retrospectively puts in contextual order what she could not always place straight away. Only recently the artist began to further spin stories around certain titles, surpassing mere background information. In these 'title stories' Steiger puts something in words that are not necessarily visible in a painting, yet is still connected to that specific work: Either because it preceded it, accompanied it or else is added later in the process of an associative title search: a real personal experience, a contemporary historical event, a fortunate discovery while looking for sources.Steiger's painting doesn't consist of a conceptual series. Equally, the texts can not only be matched with their associated paintings, but can be connected to others as well. The 'title stories' become works in their own right, independent parts of the webwork. In a reverse order to their time of creation, the four short texts included serve as points of departure, 'chapter headings', in this exhibition. It is from them that the connecting lines are drawn to paintings from different phases of the artist's work.───── END ─────
TANK Shanghai 当前展览
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