南京海尚(shang)藝術(shu)《2×二(er)》中(zhong)德藝術(shu)展演出信息

2×二

展(zhan)覽策劃｜Exhibition Planning

海尚藝術

Haishang Art

學術(shu)主持｜Academic Host

迪特爾·羅斯曼（Dieter R?schmann）

(德國(guo)藝術批評(ping)家，artline撰(zhuan)稿人(ren)，編輯)

(German art critic; Artline author, editor)

展期(qi) | Exhibition Date

2023.10.14 - 2024.2.1

周二 - 周日 9:30 – 17:30

10/14/2023 – 2/1/2024

Tue - Sun 9:30 - 17:30

藝術家｜Artists

譚平（Tan Ping）

李迪（Li Di ）

馬丁·魏瑪爾（Martin Wehmer）

本·胡布希（Ben Hübsch）

（排名不分先后）

地點｜Location

海尚藝術中心

南京市鼓樓區中山北路346號老學堂創意園1號樓

Haishang Art, Bldg 1, No.346 Zhongshan N. Rd., Gulou Dist., Nanjing, China

在(zai)當代全球化背(bei)景下，藝(yi)(yi)術(shu)(shu)作(zuo)(zuo)為一種跨越國(guo)界和文(wen)化的(de)(de)語言(yan)，不斷推動(dong)著不同地域和背(bei)景的(de)(de)藝(yi)(yi)術(shu)(shu)家之間的(de)(de)對話與合(he)作(zuo)(zuo)。《2×二》中德(de)藝(yi)(yi)術(shu)(shu)家作(zuo)(zuo)品展(zhan)則是(shi)這樣一次(ci)富有學(xue)(xue)術(shu)(shu)性的(de)(de)跨文(wen)化對話的(de)(de)重要展(zhan)覽。《2×二》中德(de)藝(yi)(yi)術(shu)(shu)家作(zuo)(zuo)品展(zhan)是(shi)海尚藝(yi)(yi)術(shu)(shu)中心(xin)建館(guan)一周年(nian)舉辦的(de)(de)國(guo)際藝(yi)(yi)術(shu)(shu)項目(mu)的(de)(de)第(di)二單元。此次(ci)展(zhan)覽旨在(zai)通(tong)過中德(de)兩國(guo)藝(yi)(yi)術(shu)(shu)家的(de)(de)交(jiao)流(liu)與互動(dong)，促進兩國(guo)藝(yi)(yi)術(shu)(shu)界的(de)(de)互學(xue)(xue)互鑒，推動(dong)多元文(wen)化的(de)(de)融合(he)與拓展(zhan)。特別邀請(qing)德(de)國(guo)著名藝(yi)(yi)術(shu)(shu)批評(ping)家Dieter R?schmann擔任學(xue)(xue)術(shu)(shu)主持，使(shi)本次(ci)展(zhan)覽具備了較高的(de)(de)專(zhuan)業性和學(xue)(xue)術(shu)(shu)性。

In the context of globalization, art, as a language that transcends national boundaries and cultures, continues to promote dialogue and cooperation between artists from different regions and backgrounds. "2×2” exhibition of works by Chinese and German artists is such an important exhibition of academic cross-cultural dialogue. "2×2” exhibition of works by Chinese and German artists is the second unit of the international art project held on the first anniversary of the establishment of the Nanjing Haishang Art Center. This exhibition aims to promote mutual learning between the art circles of the two countries through exchanges and interactions between artists from China and Germany, and promote the integration and expansion of multiculturalism. The famous German art critic Dieter R?schmann was specially invited to serve as the academic host, making this exhibition highly professional and academic.

抽象的潛力

文/學術主持 Dieter R?schmann

我很高興與您分(fen)享(xiang)關(guan)(guan)于(yu)展覽《2x二(er)》的(de)一(yi)(yi)些(xie)想法(fa)。在這(zhe)里，中國(guo)和德(de)國(guo)的(de)抽象(xiang)繪(hui)(hui)(hui)畫(hua)(hua)(hua)代(dai)(dai)(dai)表——譚(tan)平、李迪(di)、馬(ma)丁(ding)·魏瑪爾和本·胡布希進行了一(yi)(yi)場開放(fang)式對(dui)話。正如(ru)標題(ti)所預示的(de)那樣，這(zhe)不僅僅是(shi)關(guan)(guan)于(yu)對(dui)抽象(xiang)主(zhu)義(yi)藝(yi)(yi)術觀點的(de)簡(jian)(jian)單積累，而是(shi)關(guan)(guan)于(yu)其(qi)多樣性——即建立(li)關(guan)(guan)系(xi)(xi)，展示相(xiang)似之處(chu)(chu)、差異之處(chu)(chu)和潛力。從(cong)這(zhe)個視角來(lai)看(kan)，這(zhe)個展覽可以被理(li)解為(wei)一(yi)(yi)種(zhong)通(tong)過繪(hui)(hui)(hui)畫(hua)(hua)(hua)來(lai)實現(xian)的(de)文(wen)化(hua)(hua)交流(liu)。因為(wei)這(zhe)也(ye)顯而易(yi)見：抽象(xiang)繪(hui)(hui)(hui)畫(hua)(hua)(hua)并不是(shi)在文(wen)化(hua)(hua)真空(kong)中發(fa)展起來(lai)的(de)，無論是(shi)在東方(fang)還是(shi)在西方(fang)，它都有不同的(de)源頭。在歐洲，抽象(xiang)藝(yi)(yi)術致力于(yu)探索視覺習慣，而美(mei)國(guo)的(de)極簡(jian)(jian)主(zhu)義(yi)藝(yi)(yi)術則作(zuo)為(wei)一(yi)(yi)種(zhong)反(fan)流(liu)之勢確立(li)了自己的(de)地(di)位，與之相(xiang)反(fan)，中國(guo)當代(dai)(dai)(dai)抽象(xiang)藝(yi)(yi)術則從(cong)書法(fa)和繪(hui)(hui)(hui)畫(hua)(hua)(hua)的(de)長(chang)期互動中汲取養分(fen)，這(zhe)又(you)同時激發(fa)了許(xu)多西方(fang)藝(yi)(yi)術家的(de)靈(ling)感(gan)。如(ru)果沒有亞(ya)洲藝(yi)(yi)術的(de)影響，歐洲和美(mei)國(guo)的(de)現(xian)代(dai)(dai)(dai)藝(yi)(yi)術就(jiu)不會發(fa)展成今天(tian)我們所知道(dao)的(de)樣子。反(fan)過來(lai)，在20世紀80年代(dai)(dai)(dai)初期，中國(guo)的(de)藝(yi)(yi)術家們開始越來(lai)越多地(di)研(yan)究西方(fang)藝(yi)(yi)術，其(qi)理(li)論基(ji)礎(chu)和各種(zhong)形式，以便與日(ri)益全(quan)球化(hua)(hua)的(de)當代(dai)(dai)(dai)藝(yi)(yi)術建立(li)聯系(xi)(xi)。一(yi)(yi)些(xie)人前往德(de)國(guo)學習后返(fan)回中國(guo)發(fa)展自己的(de)藝(yi)(yi)術事業，反(fan)之亦(yi)然。

本次展(zhan)覽(lan)的(de)藝術家(jia)們(men)也是如(ru)此(ci)。譚平于(yu) 1989 年(nian)至 1994 年(nian)在(zai)柏林(lin)藝術大學(xue)(xue)學(xue)(xue)習繪畫，畢業后成(cheng)為克勞(lao)斯(si)(si)-傅斯(si)(si)曼(man)（Klaus Fu?mann）的(de)碩士研究(jiu)生，是當今中(zhong)國(guo)當代抽象(xiang)藝術最重要的(de)代表人物之一，他對(dui)中(zhong)國(guo)抽象(xiang)藝術的(de)發展(zhan)產(chan)生了(le)持續(xu)性的(de)影響。他是北京(jing)中(zhong)國(guo)藝術研究(jiu)院副院長。李迪，最初在(zai)北京(jing)中(zhong)央美(mei)術學(xue)(xue)院學(xue)(xue)習油畫，1990 年(nian)前往(wang)德國(guo)攻讀第二階段藝術課程，1995 年(nian)在(zai)布倫瑞克美(mei)術學(xue)(xue)院阿維德-D-戈雷拉（Arwed D. Gorella）門下完成(cheng)碩士學(xue)(xue)業。20 年(nian)后，即 2010 年(nian)，李迪回到北京(jing)。如(ru)今，他在(zai)兩(liang)個(ge)國(guo)家(jia)和(he)兩(liang)種文(wen)化中(zhong)生活和(he)工作。

譚平 Tan Ping

譚平在(zai)(zai)(zai)本(ben)(ben)次(ci)展(zhan)(zhan)覽(lan)中(zhong)展(zhan)(zhan)出的(de)(de)(de)(de)繪(hui)畫作(zuo)品從根本(ben)(ben)上體現(xian)了(le)這(zhe)一點(dian)。藝術家將(jiang)自(zi)己(ji)的(de)(de)(de)(de)繪(hui)畫實踐(jian)描(miao)述(shu)為(wei)直覺。他(ta)寫道：“對(dui)我來說，繪(hui)畫每(mei)次(ci)都是(shi)(shi)一次(ci)偶遇(yu)(yu)，從開(kai)始(shi)到(dao)結束，無論花費多長時(shi)間。”他(ta)寫道：“每(mei)根線條(tiao)都起源于一個(ge)隨(sui)機的(de)(de)(de)(de)起點(dian)，在(zai)(zai)(zai)沒有(you)預(yu)先定(ding)位的(de)(de)(de)(de)情(qing)況下任(ren)由其(qi)(qi)發展(zhan)(zhan)和擴展(zhan)(zhan)，直到(dao)到(dao)達(da)我們相遇(yu)(yu)的(de)(de)(de)(de)特定(ding)地點(dian)，并'定(ding)格'在(zai)(zai)(zai)那里。”譚平故意對(dui)此(ci)問題的(de)(de)(de)(de)結論留(liu)白，因(yin)此(ci)，這(zhe)個(ge)問題是(shi)(shi)開(kai)放的(de)(de)(de)(de)，即(ji)結果是(shi)(shi)否是(shi)(shi)好的(de)(de)(de)(de)，或者(zhe)我們是(shi)(shi)否只是(shi)(shi)因(yin)為(wei)它符(fu)合我們的(de)(de)(de)(de)期(qi)望或觀看習慣而覺得(de)它是(shi)(shi)好的(de)(de)(de)(de)。不僅(jin)如此(ci)，他(ta)還保留(liu)了(le)這(zhe)種開(kai)放性，通過一次(ci)又一次(ci)地在(zai)(zai)(zai)畫布上涂抹這(zhe)些 "凝固 "的(de)(de)(de)(de)狀態，將(jiang)其(qi)(qi)作(zuo)為(wei)想象的(de)(de)(de)(de)潛力(li)封閉在(zai)(zai)(zai)畫面中(zhong)。因(yin)此(ci)，他(ta)的(de)(de)(de)(de)覆蓋物(wu)具有(you)夜幕籠罩世界的(de)(de)(de)(de)效果，使(shi)事物(wu)在(zai)(zai)(zai)肉眼(yan)面前(qian)消(xiao)失，即(ji)使(shi)我們知道它們仍然存在(zai)(zai)(zai)。

譚(tan)(tan)平(ping)(ping)談到了(le)(le) “畫(hua)布的(de)(de)(de)(de)對(dui)(dui)立(li)面”，但這(zhe)只是(shi)(shi)事實的(de)(de)(de)(de)一部(bu)分。譚(tan)(tan)平(ping)(ping)讓(rang)畫(hua)面的(de)(de)(de)(de)邊(bian)邊(bian)角角從濃重(zhong)的(de)(de)(de)(de)、往(wang)往(wang)是(shi)(shi)深(shen)色(se)的(de)(de)(de)(de)套色(se)下(xia)露(lu)出(chu)來，讓(rang)觀眾得(de)以窺見這(zhe)些驚人的(de)(de)(de)(de)繪畫(hua)作(zuo)(zuo)品的(de)(de)(de)(de)舞臺(tai)空間(jian)的(de)(de)(de)(de)深(shen)處(chu)。與此同時(shi)(shi)，通(tong)過(guo)在(zai)(zai)可(ke)見部(bu)分上繪畫(hua)，他(ta)為(wei)新事物的(de)(de)(de)(de)誕生做好了(le)(le)準(zhun)備。”譚(tan)(tan)平(ping)(ping)說：“吸引我的(de)(de)(de)(de)是(shi)(shi)新的(de)(de)(de)(de)開(kai)始(shi)。” 消失與出(chu)現、結束與開(kai)始(shi)不謀而(er)合，并在(zai)(zai)潛在(zai)(zai)的(de)(de)(de)(de)無限運動中創(chuang)造出(chu)一種(zhong)張力，這(zhe)對(dui)(dui)畫(hua)作(zuo)(zuo)對(dui)(dui)觀眾的(de)(de)(de)(de)影響極為(wei)重(zhong)要，因為(wei)畫(hua)作(zuo)(zuo)為(wei)觀眾打開(kai)了(le)(le)思考、休息和想(xiang)象(xiang)的(de)(de)(de)(de)空間(jian)。譚(tan)(tan)平(ping)(ping)的(de)(de)(de)(de)畫(hua)作(zuo)(zuo)也可(ke)以被描(miao)述為(wei)畫(hua)家(jia)的(de)(de)(de)(de) “重(zhong)寫本”（palimpsests），是(shi)(shi)對(dui)(dui)自身(shen)的(de)(de)(de)(de)回憶，其(qi)中刻有繪畫(hua)過(guo)程、不在(zai)(zai)場的(de)(de)(de)(de)藝術家(jia)身(shen)體(ti)的(de)(de)(de)(de)存(cun)在(zai)(zai)以及流逝的(de)(de)(de)(de)時(shi)(shi)間(jian)，既(ji)是(shi)(shi)最終的(de)(de)(de)(de)，又是(shi)(shi)暫時(shi)(shi)的(de)(de)(de)(de)，可(ke)以改變，在(zai)(zai)某種(zhong)程度上是(shi)(shi)暫時(shi)(shi)停滯的(de)(de)(de)(de)連(lian)續性。或者正(zheng)如他(ta)自己所說 “碎(sui)片(pian)填滿(man)碎(sui)片(pian)，時(shi)(shi)間(jian)覆蓋(gai)時(shi)(shi)間(jian)”。

譚平《覆(fu)蓋一號》200×200cm 丙烯 2018

譚平的(de)(de)(de)繪畫是在意義(yi)的(de)(de)(de)置換、交(jiao)換和疊加過程中(zhong)出(chu)現的(de)(de)(de)，它(ta)在前影(ying)像和后影(ying)像的(de)(de)(de)共存(cun)、挪用和擦除(chu)的(de)(de)(de)同時(shi)性(xing)中(zhong)展開，從而同時(shi)為我(wo)們的(de)(de)(de)可見性(xing)秩序提出(chu)了(le)一個系(xi)統：在通(tong)過畫筆的(de)(de)(de)蜿蜒和顏料的(de)(de)(de)層(ceng)疊形成影(ying)像和影(ying)像飽和的(de)(de)(de)過程中(zhong)，以(yi)及在觀眾(zhong)的(de)(de)(de)部分，通(tong)過自己(ji)的(de)(de)(de)投射或(huo)想象的(de)(de)(de)經驗讓影(ying)像再次出(chu)現在自己(ji)面前。 

譚平《覆蓋二(er)號》200×200cm 丙(bing)烯 2018

馬丁·魏瑪爾 Martin Wehmer

在(zai)(zai)譚平深度自省的(de)(de)(de)(de)繪(hui)(hui)畫(hua)(hua)(hua)背(bei)景下，值得留意(yi)馬丁(ding)·魏瑪爾的(de)(de)(de)(de)雙聯畫(hua)(hua)(hua)作(zuo)《星(xing)(xing)空(kong)的(de)(de)(de)(de)背(bei)面(mian)(mian)》。在(zai)(zai)這(zhe)幅(fu)作(zuo)品中(zhong)(zhong)，兩個(ge)十(shi)字(zi)(zi)架將畫(hua)(hua)(hua)面(mian)(mian)空(kong)間劃(hua)分為四(si)個(ge)色(se)(se)域，每(mei)個(ge)色(se)(se)域的(de)(de)(de)(de)赭色(se)(se)和黃色(se)(se)漸變(bian)不同。其中(zhong)(zhong)一(yi)個(ge)十(shi)字(zi)(zi)架讓人(ren)聯想(xiang)到(dao)(dao)窗戶十(shi)字(zi)(zi)架——可以從(cong)中(zhong)(zhong)看出萊昂·巴蒂(di)斯塔·阿爾貝蒂(di)（Leon Battista Alberti）將繪(hui)(hui)畫(hua)(hua)(hua)比(bi)喻為 "窗外(wai)的(de)(de)(de)(de)世界"（finestra aperta）——由(you)藝術家框(kuang)定(ding)的(de)(de)(de)(de)世界觀，這(zhe)一(yi)比(bi)喻塑造了歐洲從(cong) 15 世紀到(dao)(dao)現代(dai)對繪(hui)(hui)畫(hua)(hua)(hua)的(de)(de)(de)(de)理解(jie)。另(ling)一(yi)個(ge)十(shi)字(zi)(zi)架讓人(ren)聯想(xiang)到(dao)(dao)圣安德魯十(shi)字(zi)(zi)架（警告危險）和字(zi)(zi)母 "X"，"X "通常用于在(zai)(zai)選(xuan)舉中(zhong)(zhong)為候選(xuan)人(ren)畫(hua)(hua)(hua)十(shi)字(zi)(zi)、勾選(xuan)已完成的(de)(de)(de)(de)事情或(huo)覆蓋已失(shi)去效力的(de)(de)(de)(de)文字(zi)(zi)。這(zhe)些十(shi)字(zi)(zi)架是用木板(ban)條擰(ning)在(zai)(zai)畫(hua)(hua)(hua)作(zuo)表(biao)面(mian)(mian)的(de)(de)(de)(de)，因此(ci)有多種可能(neng)的(de)(de)(de)(de)解(jie)釋。它們(men)是穩定(ding)畫(hua)(hua)(hua)面(mian)(mian)還是橫(heng)跨畫(hua)(hua)(hua)面(mian)(mian)，是保護畫(hua)(hua)(hua)面(mian)(mian)還是擦(ca)除畫(hua)(hua)(hua)面(mian)(mian)，是技術輔助還是繪(hui)(hui)畫(hua)(hua)(hua)標(biao)志？"星(xing)(xing)空(kong)的(de)(de)(de)(de)背(bei)面(mian)(mian) "是這(zhe)幅(fu)雙聯畫(hua)(hua)(hua)的(de)(de)(de)(de)標(biao)題(ti)，既詩意(yi)又冷靜(jing)，圍(wei)繞著可見性和隱蔽性的(de)(de)(de)(de)問題(ti)。它將我們(men)的(de)(de)(de)(de)視線引向我們(men)在(zai)(zai)這(zhe)幅(fu)抽象作(zuo)品中(zhong)(zhong)可能(neng)看到(dao)(dao)的(de)(de)(de)(de)東西，即紙(zhi)板(ban)色(se)(se)的(de)(de)(de)(de)、并不華(hua)麗(li)的(de)(de)(de)(de)星(xing)(xing)空(kong)背(bei)面(mian)(mian)，我們(men)習慣于將我們(men)的(de)(de)(de)(de)夢想(xiang)和欲望投射到(dao)(dao)星(xing)(xing)空(kong)背(bei)面(mian)(mian)。

馬丁(ding)·魏瑪爾《Raute》120×90cm 布面(mian)油畫 2017

馬丁·魏(wei)瑪爾(er)的(de)(de)(de)(de)(de)(de)繪(hui)畫(hua)(hua)(hua)(hua)(hua)(hua)復雜的(de)(de)(de)(de)(de)(de)意義層(ceng)和(he)(he)恬(tian)靜(jing)而常(chang)常(chang)令人驚(jing)奇的(de)(de)(de)(de)(de)(de)幽默是其繪(hui)畫(hua)(hua)(hua)(hua)(hua)(hua)的(de)(de)(de)(de)(de)(de)典型特征。他(ta)以大規模的(de)(de)(de)(de)(de)(de)圓形和(he)(he)弧段抽象(xiang)(xiang)畫(hua)(hua)(hua)(hua)(hua)(hua)在(zai)(zai)德國廣(guang)為(wei)人知(zhi)，受(shou)到(dao)了(le)1910年代羅伯特·德勞(lao)內(nei)（Robert Delaunay）的(de)(de)(de)(de)(de)(de)奧費(fei)立(li)體主義的(de)(de)(de)(de)(de)(de)啟發，并以把(ba)握空間(jian)的(de)(de)(de)(de)(de)(de)姿(zi)態一躍成(cheng)為(wei)當代藝(yi)術家。移居北(bei)京后(hou)，隨(sui)著教學生涯的(de)(de)(de)(de)(de)(de)開(kai)始(shi)，他(ta)在(zai)(zai)中國找(zhao)到(dao)了(le)自己的(de)(de)(de)(de)(de)(de)繪(hui)畫(hua)(hua)(hua)(hua)(hua)(hua)之路，在(zai)(zai)對藝(yi)術史參照(zhao)物以及時尚、美和(he)(he)流行文化(hua)的(de)(de)(de)(de)(de)(de)表面(mian)刺激的(de)(de)(de)(de)(de)(de)研究中，他(ta)將(jiang)畫(hua)(hua)(hua)(hua)(hua)(hua)家的(de)(de)(de)(de)(de)(de)感覺帶(dai)到(dao)了(le)畫(hua)(hua)(hua)(hua)(hua)(hua)布(bu)上(shang)，只用顏料(liao)就(jiu)(jiu)創造出(chu)了(le)最(zui)美麗(li)的(de)(de)(de)(de)(de)(de)欲望(wang)火花。本次(ci)展覽中展出(chu)的(de)(de)(de)(de)(de)(de)油畫(hua)(hua)(hua)(hua)(hua)(hua)《橙(cheng)色(se)(se)褲子》就(jiu)(jiu)是這(zhe)種(zhong)色(se)(se)彩(cai)欲望(wang)釋放(fang)的(de)(de)(de)(de)(de)(de)一個很好的(de)(de)(de)(de)(de)(de)例子：油畫(hua)(hua)(hua)(hua)(hua)(hua)布(bu)上(shang)的(de)(de)(de)(de)(de)(de)油畫(hua)(hua)(hua)(hua)(hua)(hua)顏料(liao)豐富而花哨(shao)，在(zai)(zai)明黃(huang)色(se)(se)的(de)(de)(de)(de)(de)(de)底色(se)(se)上(shang)，橙(cheng)色(se)(se)、紫色(se)(se)和(he)(he)群青藍形成(cheng)鮮明對比，構成(cheng)了(le)一條游(you)泳(yong)短(duan)褲的(de)(de)(de)(de)(de)(de)縮小圖。在(zai)(zai)這(zhe)里，魏(wei)爾(er)瑪用強有(you)力的(de)(de)(de)(de)(de)(de)動作將(jiang)繪(hui)畫(hua)(hua)(hua)(hua)(hua)(hua)表現(xian)為(wei)姿(zi)態抽象(xiang)(xiang)與顏料(liao)的(de)(de)(de)(de)(de)(de)結(jie)構物質性(xing)之間(jian)的(de)(de)(de)(de)(de)(de)平衡，顏料(liao)的(de)(de)(de)(de)(de)(de)結(jie)構物質性(xing)將(jiang)畫(hua)(hua)(hua)(hua)(hua)(hua)布(bu)的(de)(de)(de)(de)(de)(de)表面(mian)延(yan)伸到(dao)浮雕空間(jian)中，并以這(zhe)種(zhong)方式在(zai)(zai)繪(hui)畫(hua)(hua)(hua)(hua)(hua)(hua)的(de)(de)(de)(de)(de)(de)對象(xiang)(xiang)性(xing)存在(zai)(zai)和(he)(he)繪(hui)畫(hua)(hua)(hua)(hua)(hua)(hua)性(xing)特質之間(jian)創造出(chu)一種(zhong)閃爍(shuo)的(de)(de)(de)(de)(de)(de)張力。

馬丁·魏瑪爾《he》160×220cm 布(bu)面油畫 2015

對(dui)于馬丁(ding)·魏瑪(ma)爾來(lai)(lai)說，抽(chou)象(xiang)(xiang)(xiang)(xiang)(xiang)決不(bu)意味著對(dui)形象(xiang)(xiang)(xiang)(xiang)(xiang)的(de)(de)(de)(de)放棄或拒絕，而(er)(er)(er)對(dui)他來(lai)(lai)說，抽(chou)象(xiang)(xiang)(xiang)(xiang)(xiang)只是(shi)一(yi)種借口，讓繪(hui)(hui)(hui)畫遵(zun)循自(zi)己的(de)(de)(de)(de)規律，尋(xun)找自(zi)己的(de)(de)(de)(de)節奏(zou)、自(zi)己的(de)(de)(de)(de)色(se)(se)彩和形式的(de)(de)(de)(de)經濟性(xing)以(yi)及自(zi)己的(de)(de)(de)(de)模(mo)糊性(xing)。平放的(de)(de)(de)(de)文(wen)件夾(jia)對(dui)應一(yi)個淺灰(hui)色(se)(se)背景(jing)的(de)(de)(de)(de)簡化(hua)視圖，這(zhe)(zhe)(zhe)使得它在(zai)(zai)非具象(xiang)(xiang)(xiang)(xiang)(xiang)的(de)(de)(de)(de)色(se)(se)彩場(chang)繪(hui)(hui)(hui)畫與象(xiang)(xiang)(xiang)(xiang)(xiang)征著文(wen)件夾(jia)所代表的(de)(de)(de)(de)秩(zhi)序的(de)(de)(de)(de)曖昧(mei)的(de)(de)(de)(de)靜(jing)物之間搖擺不(bu)定。而(er)(er)(er)《德國(guo)(guo)抽(chou)象(xiang)(xiang)(xiang)(xiang)(xiang)》這(zhe)(zhe)(zhe)兩幅(fu)繪(hui)(hui)(hui)畫則以(yi)微妙的(de)(de)(de)(de)諷刺(ci)暗示(shi)了德國(guo)(guo)價值(zhi)觀的(de)(de)(de)(de)刻板(ban)印象(xiang)(xiang)(xiang)(xiang)(xiang)，這(zhe)(zhe)(zhe)種觀念很(hen)容(rong)易被(bei)當作(zuo)可靠(kao)性(xing)、功能性(xing)、持久價值(zhi)和創新(xin)精神(shen)來(lai)(lai)推銷。這(zhe)(zhe)(zhe)些繪(hui)(hui)(hui)畫暗示(shi)著，抽(chou)象(xiang)(xiang)(xiang)(xiang)(xiang)繪(hui)(hui)(hui)畫并(bing)(bing)非形而(er)(er)(er)上學的(de)(de)(de)(de)對(dui)象(xiang)(xiang)(xiang)(xiang)(xiang)，而(er)(er)(er)像(xiang)木工一(yi)樣是(shi)一(yi)種工藝。用隱(yin)喻的(de)(de)(de)(de)方式來(lai)(lai)說：繪(hui)(hui)(hui)畫是(shi)一(yi)堆木板(ban)和護墻板(ban)，通(tong)過螺栓(shuan)擰緊成(cheng)合理(li)的(de)(de)(de)(de)結構(gou)，做到言之有物。馬丁(ding)·基彭貝格或許會以(yi)類似(si)的(de)(de)(de)(de)方式來(lai)(lai)看待這(zhe)(zhe)(zhe)一(yi)點。在(zai)(zai)1984年，這(zhe)(zhe)(zhe)位聲名顯赫、活躍于西德新(xin)表現(xian)主義繪(hui)(hui)(hui)畫場(chang)景(jing)的(de)(de)(de)(de)藝術家(jia)畫出了作(zuo)品《我竭盡全力完全無(wu)法辨認出個卍字》，這(zhe)(zhe)(zhe)幅(fu)作(zuo)品是(shi)由不(bu)合邏輯地交錯在(zai)(zai)一(yi)起(qi)的(de)(de)(de)(de)梁木組(zu)成(cheng)的(de)(de)(de)(de)緊張構(gou)圖，其實(shi)它并(bing)(bing)未真正(zheng)描繪(hui)(hui)(hui)一(yi)個“卍”字，但這(zhe)(zhe)(zhe)個標題讓每個看到的(de)(de)(de)(de)人尋(xun)找它，這(zhe)(zhe)(zhe)幅(fu)畫可以(yi)被(bei)理(li)解為(wei)對(dui)德國(guo)(guo)罪行和對(dui)國(guo)(guo)家(jia)施(shi)行者(zhe)來(lai)(lai)說復雜歷(li)史的(de)(de)(de)(de)一(yi)種聰明而(er)(er)(er)諷刺(ci)的(de)(de)(de)(de)評論。

李迪 Li Di

馬丁·基(ji)(ji)彭貝(bei)格(ge)爾(er)（ Martin Kippenberger）與沃爾(er)特·達(da)恩（Walter Dahn）是(shi)(shi)朋友，后者是(shi)(shi)約(yue)瑟夫·博(bo)伊(yi)斯（Joseph Beuys）的(de)學(xue)生，后來成為李迪在(zai)(zai)布倫瑞克美(mei)術(shu)學(xue)院的(de)老師。達(da)恩和基(ji)(ji)彭貝(bei)格(ge)爾(er)共同致力于具象和繪(hui)畫自由，以擺脫自 20 世紀(ji) 70 年代以來主導西方(fang)藝(yi)術(shu)話語的(de)極簡藝(yi)術(shu)的(de)嚴謹概念(nian)。這對李迪并非沒有影響(xiang)。在(zai)(zai)2016年與方(fang)振(zhen)寧(ning)的(de)訪(fang)談中，他將瓦(wa)爾(er)特·達(da)恩（Walter Dahn）視為早年在(zai)(zai)德國受到(dao)的(de)最(zui)重(zhong)要影響(xiang)。即使是(shi)(shi)李迪 2011 年回國后在(zai)(zai)北京今日美(mei)術(shu)館(guan)展(zhan)出的(de)畫作，也(ye)明顯受到(dao)德國新表現(xian)主義(yi)以及(ji)中國傳統水墨畫的(de)影響(xiang)。此后不久(jiu)，他說(shuo)：他開始尋(xun)找減去的(de)方(fang)法，以獲得一種更(geng)自由、更(geng)簡單(dan)的(de)語言。” 他也(ye)說(shuo)：”抽象是(shi)(shi)對語言本(ben)身的(de)回歸(gui)。"如果繪(hui)畫不回歸(gui)其本(ben)身的(de)語境，它就只能是(shi)(shi)膚淺的(de)吸(xi)引人(ren)的(de)形式的(de)集合"。

李迪《留白系列》

對李(li)迪來說，作為在(zai)繪畫(hua)(hua)行(xing)為中(zhong)(zhong)(zhong)實現(xian)思想(xiang)的(de)(de)藝術過(guo)程成為了(le)(le)(le)(le)(le)他(ta)(ta)作品(pin)的(de)(de)中(zhong)(zhong)(zhong)心。"這(zhe)個(ge)(ge)過(guo)程既是(shi)個(ge)(ge)人經(jing)驗的(de)(de)沉思和表達，也是(shi)繪畫(hua)(hua)研究和形(xing)式元(yuan)素的(de)(de)體驗"。2015年，李(li)迪花了(le)(le)(le)(le)(le)一(yi)(yi)個(ge)(ge)月的(de)(de)時間(jian)(jian)，在(zai)一(yi)(yi)面25米長(chang)的(de)(de)墻上用(yong)鉛(qian)筆(bi)畫(hua)(hua)了(le)(le)(le)(le)(le)成千上萬條線，這(zhe)是(shi)他(ta)(ta)最激(ji)進(jin)的(de)(de)作品(pin)之一(yi)(yi)。與他(ta)(ta)使用(yong)的(de)(de)材料(liao)--800 支中(zhong)(zhong)(zhong)華HB 鉛(qian)筆(bi)--相比，這(zhe)件(jian)作品(pin)所(suo)需的(de)(de)腦力和體力是(shi)無法計算的(de)(de)。這(zhe)給人留下(xia)了(le)(le)(le)(le)(le)深刻(ke)印象，也極富詩意地(di)證明了(le)(le)(le)(le)(le)一(yi)(yi)個(ge)(ge)事實，即圖像(xiang)永(yong)遠不(bu)會等同(tong)于所(suo)用(yong)材料(liao)的(de)(de)總和。身臨其境的(de)(de)繪畫(hua)(hua)裝置讓觀眾不(bu)僅看到了(le)(le)(le)(le)(le)創造這(zhe)一(yi)(yi)圖像(xiang)的(de)(de)創作過(guo)程，而且還(huan)切身感受(shou)到了(le)(le)(le)(le)(le)這(zhe)一(yi)(yi)過(guo)程。同(tong)時，它還(huan)消解了(le)(le)(le)(le)(le)圖像(xiang)與墻壁(bi)之間(jian)(jian)的(de)(de)界(jie)限，讓兩種空(kong)間(jian)(jian)狀態相互擴散(san)。在(zai)概念藝術、行(xing)動繪畫(hua)(hua)的(de)(de)實體性(xing)(xing)和中(zhong)(zhong)(zhong)國(guo)傳統水墨畫(hua)(hua)的(de)(de)象征(zheng)性(xing)(xing)虛空(kong)的(de)(de)交匯中(zhong)(zhong)(zhong)，李(li)迪在(zai)東西方期待的(de)(de)文(wen)化領域中(zhong)(zhong)(zhong)進(jin)行(xing)實驗的(de)(de)非凡樂趣在(zai)這(zhe)里得(de)到了(le)(le)(le)(le)(le)展現(xian)。

李(li)迪《留(liu)白(bai)》90×65cm 紙上碳素(su) 2023

李迪的作品 "中華(hua)HB "雖然充斥(chi)著(zhu)各種(zhong)符號，但其(qi)周圍(wei)卻是一(yi)(yi)片寂靜，就(jiu)像剛下(xia)過(guo)(guo)(guo)的雪覆(fu)蓋了一(yi)(yi)切，改變(bian)了事(shi)物的形(xing)狀和(he)聲音，使(shi)其(qi)化為陰影(ying)，讓人難以相信自己(ji)的感官。韓(han)裔德國(guo)哲(zhe)學(xue)(xue)家韓(han)炳哲(zhe)（Byung-Chul Han）創造(zao)了 "遠離(li)"（being away）一(yi)(yi)詞，用來(lai)形(xing)容這(zhe)種(zhong)事(shi)物變(bian)得模糊(hu)不清的過(guo)(guo)(guo)渡空(kong)間(jian)，并將(jiang)其(qi)與西(xi)方(fang)(fang)的 "存在"（being）概(gai)念進(jin)行對比，后者蘊含(han)著(zhu)包含(han)、意(yi)義(yi)(yi)和(he)滿(man)足的含(han)義(yi)(yi)。在《論遠東的文化與哲(zhe)學(xue)(xue)》一(yi)(yi)文中，韓(han)炳哲(zhe)寫道："缺席(xi)就(jiu)是冷漠(mo)。它具有(you)液化和(he)劃界的效果。沒有(you)任何東西(xi)強加于自己(ji)，沒有(you)任何東西(xi)劃定自己(ji)的界限"。通過(guo)(guo)(guo)這(zhe)種(zhong)方(fang)(fang)式，缺席(xi)使(shi)空(kong)間(jian)具有(you)滲透性。"它拓寬了空(kong)間(jian)，一(yi)(yi)個(ge)空(kong)間(jian)為另一(yi)(yi)個(ge)空(kong)間(jian)提(ti)供了空(kong)間(jian)，而另一(yi)(yi)個(ge)空(kong)間(jian)又(you)為更多的空(kong)間(jian)提(ti)供了空(kong)間(jian)。概(gai)念性將(jiang)世界封(feng)閉(bi)在西(xi)方(fang)(fang)思(si)想所熟悉(xi)的線性、賦予意(yi)義(yi)(yi)的敘事(shi)中，與此相反(fan)，禪宗思(si)想認為在空(kong)虛中獲得自由。

李(li)迪《留白(bai)》140×120cm 布面丙烯 2023

李迪目前展出(chu)的(de)(de)(de)(de)(de)(de)(de)兩(liang)個(ge)系列(lie)(lie)作(zuo)品(pin)都(dou)(dou)提到了這種(zhong)空(kong)(kong)(kong)(kong)，一(yi)(yi)個(ge)以布(bu)面繪畫(hua)(hua)為(wei)媒(mei)介(jie)，另(ling)一(yi)(yi)個(ge)以紙本繪畫(hua)(hua)為(wei)媒(mei)介(jie)。這兩(liang)個(ge)系列(lie)(lie)都(dou)(dou)以 “留白(bai)" 為(wei)題。所(suo)謂(wei) "留白(bai)"，是(shi)指中(zhong)國書法和(he)繪畫(hua)(hua)中(zhong)常用(yong)的(de)(de)(de)(de)(de)(de)(de)一(yi)(yi)種(zhong)技法，即故意(yi)留出(chu)空(kong)(kong)(kong)(kong)隙，給(gei)人(ren)以想(xiang)象的(de)(de)(de)(de)(de)(de)(de)空(kong)(kong)(kong)(kong)間(jian)(jian)，使整個(ge)作(zuo)品(pin)更加和(he)諧、優美。在該系列(lie)(lie)繪畫(hua)(hua)的(de)(de)(de)(de)(de)(de)(de)五塊畫(hua)(hua)布(bu)上，每塊畫(hua)(hua)布(bu)都(dou)(dou)涂有不(bu)同(tong)(tong)(tong)的(de)(de)(de)(de)(de)(de)(de)底(di)色，數(shu)十條(tiao)銀灰(hui)色的(de)(de)(de)(de)(de)(de)(de)短線無(wu)序(xu)地排(pai)列(lie)(lie)著。雖然沒(mei)有兩(liang)組順序(xu)相同(tong)(tong)(tong)，但它們似(si)乎都(dou)(dou)遵(zun)循(xun)著一(yi)(yi)個(ge)共同(tong)(tong)(tong)的(de)(de)(de)(de)(de)(de)(de)原則(ze)。在每個(ge)集群中(zhong)，線條(tiao)之(zhi)間(jian)(jian)的(de)(de)(de)(de)(de)(de)(de)距離都(dou)(dou)是(shi)相似(si)的(de)(de)(de)(de)(de)(de)(de)，就像(xiang)(xiang)李迪在演練一(yi)(yi)種(zhong)理(li)想(xiang)的(de)(de)(de)(de)(de)(de)(de)多人(ren)組織，他們在條(tiao)件(jian)允(yun)許的(de)(de)(de)(de)(de)(de)(de)情況下相互給(gei)予對(dui)方足(zu)夠的(de)(de)(de)(de)(de)(de)(de)空(kong)(kong)(kong)(kong)間(jian)(jian)。這些(xie)畫(hua)(hua)面透著體(ti)貼與尊重、關懷與集體(ti)。手寫的(de)(de)(de)(de)(de)(de)(de)筆畫(hua)(hua)節奏及其界定的(de)(de)(de)(de)(de)(de)(de)空(kong)(kong)(kong)(kong)白(bai)空(kong)(kong)(kong)(kong)間(jian)(jian)是(shi)漫無(wu)目的(de)(de)(de)(de)(de)(de)(de)漂移的(de)(de)(de)(de)(de)(de)(de)結果，但這種(zhong)漂移并(bing)不(bu)自由，而是(shi)遵(zun)循(xun)自我設定的(de)(de)(de)(de)(de)(de)(de)規則(ze)，如筆畫(hua)(hua)的(de)(de)(de)(de)(de)(de)(de)粗細或圖像(xiang)(xiang)格式。線條(tiao)的(de)(de)(de)(de)(de)(de)(de)數(shu)量略(lve)有不(bu)同(tong)(tong)(tong)；密度(du)不(bu)同(tong)(tong)(tong)的(de)(de)(de)(de)(de)(de)(de)印象通過畫(hua)(hua)面底(di)色的(de)(de)(de)(de)(de)(de)(de)變(bian)化得到補償。紙上系列(lie)(lie)作(zuo)品(pin)遵(zun)循(xun)同(tong)(tong)(tong)樣的(de)(de)(de)(de)(de)(de)(de)形式原則(ze)，同(tong)(tong)(tong)樣名(ming)為(wei) "留白(bai)"，結合了炭筆畫(hua)(hua)和(he)蝕刻這兩(liang)種(zhong)技術，對(dui)時(shi)間(jian)(jian)和(he)身體(ti)的(de)(de)(de)(de)(de)(de)(de)使用(yong)要求可以想(xiang)象是(shi)不(bu)同(tong)(tong)(tong)的(de)(de)(de)(de)(de)(de)(de)，并(bing)且(qie)結合了自發(fa)性和(he)惰性。這些(xie)作(zuo)品(pin)簡(jian)潔優雅，情緒高昂，同(tong)(tong)(tong)時(shi)又有節制，為(wei)沉(chen)思創造了極(ji)具吸引力的(de)(de)(de)(de)(de)(de)(de)空(kong)(kong)(kong)(kong)間(jian)(jian)。

本·胡布希 Ben Hübsch

對(dui)于(yu)本·胡布希來(lai)說，吸引(yin)力和(he)(he)抽象(xiang)(xiang)性也并非對(dui)立。在(zai)他的(de)(de)(de)(de)(de)作品中，藝(yi)術家將漫畫(hua)(hua)和(he)(he)流行文化、設計和(he)(he)裝(zhuang)飾(shi)藝(yi)術的(de)(de)(de)(de)(de)符號系統與受歐洲和(he)(he)美國(guo)影響(xiang)的(de)(de)(de)(de)(de)非具(ju)象(xiang)(xiang)繪(hui)畫(hua)(hua)相(xiang)結合(he)。他注重色彩(cai)和(he)(he)對(dui)比的(de)(de)(de)(de)(de)和(he)(he)諧，以及對(dui)表面的(de)(de)(de)(de)(de)鮮明興趣。“你(ni)(ni)所(suo)(suo)看到(dao)的(de)(de)(de)(de)(de)就是你(ni)(ni)所(suo)(suo)看到(dao)的(de)(de)(de)(de)(de)，”美國(guo)畫(hua)(hua)家弗蘭克·斯(si)特(te)拉在(zai)上世紀60年代中期(qi)與唐納德·賈德共同(tong)撰(zhuan)寫的(de)(de)(de)(de)(de)一篇文章中如此斷言。這個聲明長期(qi)以來(lai)被(bei)視為極簡(jian)主(zhu)(zhu)義(yi)藝(yi)術和(he)(he)分析繪(hui)畫(hua)(hua)的(de)(de)(de)(de)(de)形式主(zhu)(zhu)義(yi)信條，是對(dui)抽象(xiang)(xiang)表現主(zhu)(zhu)義(yi)進(jin)行有意義(yi)抽象(xiang)(xiang)、剝離其舊有價值的(de)(de)(de)(de)(de)純視覺對(dui)象(xiang)(xiang)的(de)(de)(de)(de)(de)結果，正如斯(si)特(te)拉所(suo)(suo)寫：“反人道(dao)、工業(ye)化和(he)(he)沒有表情(qing)。”

本·胡布希

本(ben)(ben)·胡(hu)布(bu)(bu)希(xi)也努力將(jiang)他的(de)(de)(de)(de)(de)(de)(de)(de)繪(hui)畫摒(bing)棄一(yi)切手(shou)勢的(de)(de)(de)(de)(de)(de)(de)(de)因素(su)。個(ge)(ge)體(ti)手(shou)寫風格的(de)(de)(de)(de)(de)(de)(de)(de)中(zhong)立(li)(li)化與(yu)他對(dui)(dui)裝飾作(zuo)(zuo)為(wei)秩(zhi)序原(yuan)則(ze)的(de)(de)(de)(de)(de)(de)(de)(de)興趣相一(yi)致，后者(zhe)建立(li)(li)在繪(hui)畫的(de)(de)(de)(de)(de)(de)(de)(de)一(yi)個(ge)(ge)中(zhong)心基本(ben)(ben)元素(su)之(zhi)上(shang)：將(jiang)表面劃(hua)分為(wei)兩個(ge)(ge)平面的(de)(de)(de)(de)(de)(de)(de)(de)線條(tiao)。本(ben)(ben)·胡(hu)布(bu)(bu)希(xi)的(de)(de)(de)(de)(de)(de)(de)(de)繪(hui)畫長期以來就處于幾(ji)何(he)抽象表面與(yu)虛(xu)擬的(de)(de)(de)(de)(de)(de)(de)(de)空(kong)間(jian)(jian)自然(ran)主義之(zhi)間(jian)(jian)的(de)(de)(de)(de)(de)(de)(de)(de)邊界。他這(zhe)(zhe)樣做并不(bu)沒有(you)幽(you)默感。他的(de)(de)(de)(de)(de)(de)(de)(de)畫作(zuo)(zuo)結(jie)合了(le)具體(ti)繪(hui)畫和硬(ying)邊細節(jie)元素(su)，但始終顛覆了(le)這(zhe)(zhe)些概念的(de)(de)(de)(de)(de)(de)(de)(de)純粹原(yuan)則(ze)。這(zhe)(zhe)里的(de)(de)(de)(de)(de)(de)(de)(de)形象的(de)(de)(de)(de)(de)(de)(de)(de)清晰度旨在情感上(shang)的(de)(de)(de)(de)(de)(de)(de)(de)而(er)(er)非理性上(shang)的(de)(de)(de)(de)(de)(de)(de)(de)——與(yu)李迪不(bu)同的(de)(de)(de)(de)(de)(de)(de)(de)是(shi)，它的(de)(de)(de)(de)(de)(de)(de)(de)放大倍數更高。本(ben)(ben)·胡(hu)布(bu)(bu)希(xi)從銳(rui)利輪廓的(de)(de)(de)(de)(de)(de)(de)(de)彩色帶(dai)開始，讓它們在畫布(bu)(bu)上(shang)波動擴(kuo)散，編織成密(mi)集的(de)(de)(de)(de)(de)(de)(de)(de)對(dui)(dui)角網格，用(yong)模糊(hu)的(de)(de)(de)(de)(de)(de)(de)(de)黑(hei)白照(zhao)片(pian)般的(de)(de)(de)(de)(de)(de)(de)(de)圖(tu)像(xiang)遮(zhe)蓋(gai)它們，或者(zhe)用(yong)類似模板的(de)(de)(de)(de)(de)(de)(de)(de)上(shang)繪(hui)將(jiang)其(qi)分解成個(ge)(ge)別部分，使(shi)它們像(xiang)被炸飛的(de)(de)(de)(de)(de)(de)(de)(de)圖(tu)像(xiang)構思的(de)(de)(de)(de)(de)(de)(de)(de)碎片(pian)一(yi)樣漂浮在空(kong)間(jian)(jian)中(zhong)，他的(de)(de)(de)(de)(de)(de)(de)(de)繪(hui)畫充滿了(le)藝術史(shi)的(de)(de)(de)(de)(de)(de)(de)(de)飽和度，然(ran)而(er)(er)又(you)仿佛是(shi)數字美(mei)學的(de)(de)(de)(de)(de)(de)(de)(de)共鳴室。他的(de)(de)(de)(de)(de)(de)(de)(de)畫作(zuo)(zuo)的(de)(de)(de)(de)(de)(de)(de)(de)輝光部分源于強烈(lie)的(de)(de)(de)(de)(de)(de)(de)(de)、常常是(shi)霓虹色彩和其(qi)閃(shan)爍對(dui)(dui)比的(de)(de)(de)(de)(de)(de)(de)(de)一(yi)部分。同樣重要的(de)(de)(de)(de)(de)(de)(de)(de)是(shi)他長時間(jian)(jian)進行實驗的(de)(de)(de)(de)(de)(de)(de)(de)色彩漸變(bian)。起初，只是(shi)在帶(dai)子(zi)網格之(zhi)間(jian)(jian)填充細膩的(de)(de)(de)(de)(de)(de)(de)(de)由刷子(zi)繪(hui)制的(de)(de)(de)(de)(de)(de)(de)(de)漸變(bian)色彩，從而(er)(er)將(jiang)他的(de)(de)(de)(de)(de)(de)(de)(de)畫作(zuo)(zuo)擴(kuo)展到(dao)一(yi)個(ge)(ge)想象的(de)(de)(de)(de)(de)(de)(de)(de)空(kong)間(jian)(jian)中(zhong)，而(er)(er)現在所有(you)這(zhe)(zhe)些元素(su)都在閃(shan)亮(liang)的(de)(de)(de)(de)(de)(de)(de)(de)色彩譜中(zhong)振蕩。

本·胡布希《Buy and sell》45×45cm 丙烯(xi)酸(suan)樹脂 2021

最(zui)近，寫作(zuo)(zuo)(zuo)已經(jing)滲入他繪畫(hua)的(de)(de)(de)符號系統(tong)中(zhong)，常常具有讓人驚嘆的(de)(de)(de)偽裝傾向(xiang)。這(zhe)(zhe)次展覽中(zhong)的(de)(de)(de)作(zuo)(zuo)(zuo)品《買賣》和(he)《再見》就(jiu)是其中(zhong)的(de)(de)(de)例子。字(zi)母的(de)(de)(de)曲線(xian)、輪廓和(he)內(nei)部(bu)色彩交織、鎖緊，并(bing)與明亮(liang)的(de)(de)(de)背(bei)景形成對比，以(yi)至于(yu)它(ta)們(men)(men)傳(chuan)達的(de)(de)(de)含義在層疊形式的(de)(de)(de)形態叢(cong)林(lin)中(zhong)難(nan)以(yi)辨識。它(ta)們(men)(men)偽裝了(le)他們(men)(men)的(de)(de)(de)信息(xi)，拒絕清晰傳(chuan)達，但(dan)又(you)像信號一樣(yang)閃耀。本·胡布希說(shuo)，他的(de)(de)(de)字(zi)體(ti)圍繞著藝(yi)術的(de)(de)(de)本質展開(kai)。它(ta)們(men)(men)探(tan)討能見度(du)和(he)感知、制作(zuo)(zuo)(zuo)和(he)接受、畫(hua)布和(he)繪畫(hua)轉化為文化和(he)經(jing)濟資本的(de)(de)(de)問題。在這(zhe)(zhe)樣(yang)做(zuo)的(de)(de)(de)同(tong)時，它(ta)們(men)(men)也同(tong)時提出了(le)一個(ge)問題：在數字(zi)時代(dai)，還能否(fou)想(xiang)象到阿德·雷因哈特（Ad Reinhardt）所(suo)說(shuo)的(de)(de)(de)抽象藝(yi)術的(de)(de)(de)存在。

本(ben)·胡布希《Augen》40×55cm 丙烯酸(suan)樹脂(zhi)  2018

“藝(yi)術就(jiu)是藝(yi)術本(ben)體，其(qi)(qi)他(ta)一切就(jiu)是其(qi)(qi)他(ta)一切”，這(zhe)位美(mei)國畫家曾說過。他(ta)以他(ta)自己稱(cheng)之為“冥想(xiang)面板”的(de)“黑畫”而(er)聞名，那些畫被剝去了符號(hao)、內容、陳(chen)述(shu)、風(feng)格(ge)和(he)構圖等據(ju)稱(cheng)與其(qi)(qi)本(ben)質無(wu)關的(de)元素——“非(fei)(fei)(fei)具體的(de)，非(fei)(fei)(fei)再現(xian)的(de)，非(fei)(fei)(fei)形象(xiang)的(de)，非(fei)(fei)(fei)意(yi)象(xiang)的(de)，非(fei)(fei)(fei)表現(xian)主義的(de)，非(fei)(fei)(fei)主觀的(de)”。在西方(fang)藝(yi)術討論中，這(zhe)些畫作早就(jiu)被解(jie)釋(shi)為繪畫史的(de)消失點，作為其(qi)(qi)“最后的(de)繪畫”。然(ran)而(er)，從東方(fang)的(de)觀點來看，黑色的(de)畫布并不(bu)意(yi)味著(zhu)結束，而(er)是為一個新的(de)開始鋪(pu)平道路(lu)，這(zhe)暗示了抽象(xiang)繪畫的(de)潛力仍然(ran)是無(wu)窮的(de)。

學術主持文章英文版

Potentials of Abstraction

I am pleased to share with you some thoughts about the exhibition "2x2". With Tan Ping, Li Di, Martin Wehmer and Ben Hübsch, four representatives of abstract painting in China and Germany enter into an open dialogue here. As the title already announces, this is not about the mere accumulation of artistic perspectives on abstraction, but about its multiplication - it is about establishing relationships, making similarities, differences and potentials visible. Seen in this light, this exhibition can be understood as a lived cultural exchange with the means of painting. For this is also obvious: abstract painting did not develop in a cultural vacuum, neither in the East nor in the West, but its sources are different. While abstract art in Europe was devoted to exploring visual habits, and American Minimal Art established itself as a countercurrent to the gestural, contemporary abstract art in China feeds on the long interaction between calligraphy and painting. This in turn inspired many artists in the West. Without the influence of Asian art, modernism in Europe and the United States would not have developed as we know it today. In turn, starting in the early 1980s, artists in China increasingly studied the art of the West, its theoretical foundations and various forms, in order to find a connection to the increasingly globalized contemporary art. Some went to Germany to study and later returned to pursue their careers in China - or vice versa.

This is also true of the artists in this exhibition. Tan Ping, who studied painting at the Berlin University of the Arts from 1989 to 1994 and graduated as a master student under Klaus Fu?mann, is one of the most important representatives of contemporary abstraction in China today, whose development he has had a decisive influence on and continues to drive forward. He is vice president of the China National Academy of Arts in Beijing. Li Di first studied oil painting at the Central Academy of Fine Arts CAFA in Beijing, before moving to Germany in 1990 and taking up a second course of art studies, which he completed in 1995 as a master student of Arwed D. Gorella at the Hochschule für Bildende Künste in Braunschweig. After 20 years - in 2010 - Li Di returned to Beijing. Today he lives and works in both countries and cultures. Martin Wehmer went the opposite way. He studied painting in Germany, worked for a long time as a freelance artist in Freiburg, where he founded the "Goldjungs" group of painters with Ben Hübsch, before moving to Beijing in 2008 on a studio grant from the Swiss Christoph Merian Foundation and deciding to stay. Wehmer curated the German section of the 798 Biennale there, taught at the Central Academy of Fine Arts (CAFA), among others, and now lives and works as a painter in Beijing. Ben Hübsch graduated from the Kunstakademie Karlsruhe as a master student of the influential German painter Peter Dreher, who had intensively studied Zen-Bhuddism and questions of difference and repetition. Hübsch lives and works as a painter in Freiburg and teaches as a professor of painting at the Macromedia Hochschule there. What connects these four artists and their painterly positions beyond the experience of their artistic training in 1990s Germany? The French philosopher and phenomenologist Jean-Luc Merleau-Ponty wrote in his influential 1961 essay "L'?il et l'esprit": "In whatever civilization a painting originates, whatever beliefs, motives, ways of thinking, and ceremonies surround it, even if it seems destined for something else, whether pure painting or not, figurative or non-objective painting - from Lascaux to the present day it celebrates no other enigma than that of visibility." Tan Ping In a radical way, this is evident in Tan Ping's paintings on view in this exhibition. Created in 2016, the artist describes his painting practice as intuition. "Painting for me is a chance encounter every time, from beginning to end, no matter how long it takes," he writes. "Each line originates in a random starting point and is allowed to develop and expand without pre-orientation until it arrives at a specific place where we meet and is 'frozen' there." Tan Ping deliberately leaves unanswered and thus open the question of whether the result is good or whether we find it good only because it conforms to our expectations or conventions of seeing. More than that, he preserves the openness, encloses it in the painting as an imaginary potential, so to speak, by painting over these 'frozen' states of the canvas again and again. His coverings thus have the effect of night settling over the world, making things disappear to the naked eye, even though we know they are still there. Tan Ping refers to this as the "negation of the canvas," but that is only part of the truth. By allowing the corners of the picture field to peek out from under the strong, often dark color of the respective overpainting, he allows the viewer a glimpse into the depths of the stage space of these astonishing painting productions. At the same time, by painting over the visible, he prepares the ground for the new. "It is the new beginning that attracts me," says Tan Ping. Disappearance and emergence, end and beginning coincide in this painting, creating a tension in a potentially infinite movement that is enormously important for the effect of the paintings on the viewers, to whom they open up as spaces for thought, rest and imagination. Tan Ping's paintings could also be described as painterly palimpsests, as memories of themselves, in which the painting process, the presence of the absent artist's body, the elapsed time are inscribed, final and provisional at the same time, open to change, in a sense continuums in temporary standstill. Or as he himself says "fragments filled with fragments, time covered with time". Tan Ping's painting emerges in a process of displacement, exchange and superimposition of meaning, it unfolds in the coexistence of pre-image and after-image, the simultaneity of appropriation and erasure, and thus at the same time proposes a system for our orders of visibility: in the process of image formation and image saturation through the meandering of the brush and the layering of paint, but also on the part of the viewers, who allow the image to emerge once again for themselves in contemplation through their own projected or imagined experiences.   

Martin Wehmer Against the background of Tan Ping's deeply self-reflexive painting, which intensively explores its own conditions, it is worth taking a look at Martin Wehmer's diptych "Back of the starry sky". Here, two cross connections divide the pictorial space into four color fields each in different gradations of ocher and yellow. One cross is reminiscent of a window cross - one could see in it an allusion to Leon Battista Alberti's metaphor of the painting as finestra aperta - as a view of the world framed by the artist - which shaped the understanding of painting in Europe from the 15th century to the modern age. The other cross recalls the St. Andrew's cross, which warns of danger - and the letter X, often used to make one's cross for a candidate in elections, to check off things done or to overwrite writing that has lost its validity. The crosses are screwed to the surface of the paintings with wooden slats, which opens up a variety of possible interpretations. Do they stabilize or thwart the painting, protect or erase what is painted, are they technical devices or painterly signs? "Back of the starry sky" is a title as poetic as it is sober for this dipthych, which revolves around questions of visibility and concealment. It draws attention to what we might see in this abstract composition, namely the cardboard-colored, unglamorous back of the starry sky onto which we are accustomed to project our dreams and desires.  The complexity of the layers of meaning and the quiet, often surprising humor of these paintings is typical of Martin Wehmer's painting. He became known in Germany with large-scale abstractions of circular and arc segments, schooled in the Orphic Cubism of Robert Delaunay of the 1910s and catapulted into the present with space-grabbing gestures. After moving to Beijing and beginning his teaching career, he found himself in China painting in a manner that, in an exploration of art historical references and the surface stimuli of fashion, beauty, and pop culture, brought painterly sensations to the canvas that created the most beautiful sparks of desire out of nothing but paint. The painting "orange pants," on view in this exhibition, is a good example of this unleashed lust for color: lush and garish, the oil paste sits here on the canvas, sorting itself out on a bright yellow ground in clearly contrasting fields of orange, purple, and ultramarine blue to form the reduced view of a pair of swim shorts. With powerful movement, Wehmer celebrates painting here as a balancing act between gestural abstraction and the structured materiality of paint, which extends the surface of the canvas into space in relief, thus creating a shimmering tension between the object-like presence of the painting and its painterly qualities. For Martin Wehmer, abstraction by no means means the renunciation or refusal of the figure - but for him it is rarely more than a pretext for painting that follows its own laws, in search of its own rhythm, its own economy of color and form, its own ambiguity. The formally reduced view of a lying file folder against a light gray background thus tips between nonrepresentational color field painting and an allusive still life as a metaphor for the ambivalence of order that the file folder represents. The two paintings "German Abstraction", on the other hand, allude with subtle irony to the stereotype of German Wertarbeit, which is readily marketed as reliability, functionality, lasting value and innovative spirit. Abstract painting, these paintings suggest, is not an object of metaphysics, but a craft like carpentry. Metaphorically speaking: The painting is a bundle of boards and battens, screwed together into plausible constructions that deliver what they promise. Martin Kippenberger would probably have seen it similarly. In 1984, the vociferous artist and star of West Germany's neo-expressionist painting scene had painted the picture "Ich kann beim besten willen kein Hakenkreuz erkennen" ("I can't for the life of me recognize a swastika"), a nervous composition of illogically interlocking beams that did not actually represent a swastika, but made everyone who read the title look for one. The painting could be understood as a commentary, as clever as it was ironic, on the complex history of coming to terms with the crimes of National Socialism in the country of the perpetrators. Li Di At the time, Martin Kippenberger was friends with Walter Dahn, a student of Joseph Beuys and later Li Di's teacher at the Hochschule für Bildende Künste in Braunschweig. Dahn and Kippenberger shared a commitment to figurative, painterly freedom in order to escape the conceptual rigor of Minimal Art, which had dominated artistic discourse in the West since the 1970s. This did not remain without effect on Li Di. In a 2016 interview with Fang Zhenning, he cited Walter Dahn as the most important influence of his early years in Germany. Even the paintings Li Di exhibited at the Today Art Museum in Beijing after his return in 2011 clearly showed influences of German Neo-Expressionism, as well as traditional Chinese ink painting. Shortly thereafter, he said, he then began to look for means of reduction in order to arrive at a freer and simpler language. "Abstraction is a return to language itself," he says. "If painting does not return to its own context, it remains nothing more than a superficial collection of appealing forms." For Li Di, the artistic process as the realization of thought in the act of painting moved to the center of his work. "This process is at once contemplation and expression of personal experience, painterly research, and the experience of formal elements." For one of his most radical works, Li Di spent a month in 2015 drawing hundreds of thousands of lines in pencil on a 26-meter wall. Unlike the material he used to do it - 800 Chung Hwa HB pencils - the mental and physical commitment to this work could not be calculated. It was an impressive and exceedingly poetic testament to the fact that an image is never identical to the sum of the materials used. The immersive drawing installation made the creative process of creating this image not only visible, but also physically tangible for the viewers. At the same time, it dissolved the boundary between image and wall, allowing both states of space to diffuse into each other. In the confluence of conceptual art, the physicality of action painting, and the symbolic emptiness of traditional Chinese ink painting, Li Dis' extraordinary joy in experimenting in the cultural field of expectation between East and West was demonstrated here.

Although overflowing with signs, Li Dis wall drawing "Chung Hwa HB" surrounded a silence like freshly fallen snow produces when it covers everything, changing the shapes and sounds of things and reducing them to shadows so that one can hardly trust one's senses. The Korean-German philosopher Byung-Chul Han coined the term "being away" for this space of transition in which things become ambiguous, contrasting it with the Western concept of "being" with its implications of containment, meaningfulness, and fulfillment. In his essay "On the Culture and Philosophy of the Far East," Han writes: "Absence is indifference. It has a liquefying and delimiting effect. Nothing imposes itself, nothing delimits itself." In this way, absence makes space permeable. "It widens it, one space gives space to another space, which in turn opens up to further spaces" - without ever aiming at final closure. Han derives his concept of absence from Zen Buddhist thought, which, contrary to the conceptual enclosure of the world by the linear, meaning-making narrative familiar to Western thought, sees in emptiness a gain in freedom. Two current series by Li Di refer to this emptiness, one in the medium of painting, the other in that of etching. They both bear the title "Liu Bai." "Liu Bai" refers to the frequently used technique in Chinese calligraphy and painting of deliberately leaving blank spaces and in this way room for imagination to make the whole work more harmonious and beautiful. On the five canvases of the painting series, each primed in different colors, dozens of short, silver-gray lines sort themselves out in disorderly regularity. Although no two sequences are alike, they all seem to follow a common principle. Thus, the spacing of the strokes from one another is similar in each constellation, as if Li Di were rehearsing here an ideal organization of the many, who give each other as much space as circumstances allow. These images breathe consideration and respect, care and community. The handwritten rhythm of the strokes, as well as the empty spaces defined by them, are the result of an aimless drifting that is nevertheless not free, but follows self-imposed rules, such as the thickness of the strokes or the image format. The number of lines varies slightly; the impression of varying density, in turn, is balanced by the varying coloration of the image grounds. The series on paper, which follows the same formal principle and is also titled "Liu Bai," combines charcoal drawing and etching, two techniques that require a conceivably different use of time and body and link spontaneity with inertia. The simple elegance of these works coupled with a high yet controlled emotionality creates attractive spaces for contemplation.    Ben Hübsch For Ben Hübsch, attraction and abstraction are also not opposites. In his work, the artist combines sign systems of comic and pop culture, design and decorative art with those of non-representational painting of European and American influence. His focus on color and the harmony of contrasts is evident, as is his vivid interest in surface. "What you see is what you see," the American painter Frank Stella had asserted in a joint essay with Donald Judd in the mid-1960s. The statement was long considered the formalist credo of Minimal Art and Analytic Painting, the result of a deliberate de-Romanticization of Abstract Expressionism - the image as a purely visual object, stripped of its old values, "anti-humanistic, industrial, and expressionless," as Stella wrote. Hübsch, too, had long striven to banish everything gestural from his painting. The neutralization of individual handwriting corresponded to his interest in ornament as a principle of order, based on one of the central basic elements of the painting in general: The line that divides the surface into two planes. It is no coincidence that Ben Hübsch's painting has thus long moved on the border between the geometric abstraction of the surface and a virtual naturalism of space. He does not do this without nhumor. His paintings combine elements of concrete painting and hard edge, but consistently subvert the pure doctrine of these concepts. Here, too, the clarity of the images aims not at rationality but at emotion - unlike Li Di, however, with the amplifier turned up. Starting with sharply contoured bands of color that Hübsch lets pulsate in waves across the canvas, weaving them into dense diagonal grids, obscuring them with blurred black-and-white images in a photographic look, or breaking them down into their individual parts with stencil-like overpaintings, so that they float through the room like the debris of a blown-up pictorial idea, the artist has developed a painting that is saturated with art history and yet seems like a resonating chamber of digital aesthetics. The glow of his paintings owes only in part to the intense, often neon colors and their shimmering contrasts. Equally important are the color gradients with which Hübsch has been experimenting for a long time. While at first it was only the empty spaces between the ribbon meshes that he filled with delicate gradients painted with a brush, thus expanding his paintings into an imaginary space, by now all the elements oscillate in shimmering color spectra. More recently, writing has now seeped into the sign system of his painting, often with a remarkable penchant for camouflage. Examples of this are the paintings "Buy & Sell" and "Re se voir" in this exhibition. The curves of the letters, their outlines and inner surfaces of color intertwine and interlock against luminous backgrounds in such a way that the meanings they convey are difficult to discern in the thicket of layered forms. They camouflage their messages, refuse to communicate clearly, and yet shine like signals. His typefaces, Hübsch says, revolve around the essence of art. They negotiate questions of visibility and perception, of production and reception, of the transformation of canvas and paint into cultural and economic capital. In doing so, they simultaneously pose the question of whether abstract art in the sense of Ad Reinhardt's famous dictum is still conceivable at all in the digital present. "Art is art-as-art and everything else is everything else," the U.S. painter had said, who was known above all for his "Black Paintings," which he himself called "meditation panels," emptied of all elements supposedly foreign to their essence, such as symbol, content, statement, style, and composition - "non-representational, non-representational, non-figurative, non-imagistic, non-expressionistic, non-subjective." In Western art discourse, these paintings have long been interpreted as the vanishing point of painting history, as its "last paintings." The fact that, from an Eastern perspective, the black canvas, on the other hand, does not mean the end, but again and again prepares the ground for a new beginning, suggests that the potentials of abstract painting are still inexhaustible.

關于藝術家

About The Artists

譚平

Tan Ping

藝術(shu)(shu)(shu)(shu)(shu)(shu)家(jia)、教育家(jia)，1984年畢(bi)業(ye)于中(zhong)央(yang)(yang)美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)學(xue)(xue)(xue)院(yuan)(yuan)，八十(shi)年代(dai)末留學(xue)(xue)(xue)德國(guo)柏林(lin)藝術(shu)(shu)(shu)(shu)(shu)(shu)大學(xue)(xue)(xue)，獲(huo)碩(shuo)士(shi)學(xue)(xue)(xue)位和Meisterschule學(xue)(xue)(xue)位。英(ying)國(guo)金斯頓大學(xue)(xue)(xue)榮譽博(bo)士(shi)。曾任(ren)中(zhong)央(yang)(yang)美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)學(xue)(xue)(xue)院(yuan)(yuan)設計學(xue)(xue)(xue)院(yuan)(yuan)院(yuan)(yuan)長(chang)、中(zhong)央(yang)(yang)美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)學(xue)(xue)(xue)院(yuan)(yuan)副院(yuan)(yuan)長(chang)，中(zhong)國(guo)藝術(shu)(shu)(shu)(shu)(shu)(shu)研究院(yuan)(yuan)副院(yuan)(yuan)長(chang)，現任(ren)中(zhong)國(guo)美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)家(jia)協會實驗藝術(shu)(shu)(shu)(shu)(shu)(shu)委員(yuan)會主(zhu)任(ren)，中(zhong)國(guo)藝術(shu)(shu)(shu)(shu)(shu)(shu)研究院(yuan)(yuan)國(guo)家(jia)當代(dai)藝術(shu)(shu)(shu)(shu)(shu)(shu)中(zhong)心主(zhu)任(ren)。作品被中(zhong)國(guo)美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)館(guan)、上(shang)海美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)館(guan)、波特蘭美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)館(guan)、路德維希博(bo)物館(guan)、亞利桑那州立大學(xue)(xue)(xue)美(mei)術(shu)(shu)(shu)(shu)(shu)(shu)館(guan)等國(guo)內外重要機構(gou)收藏。

Tan Ping, artist and educator, graduated from the Central Academy of Fine Arts in 1984. He then studied at the Berlin University of the Arts in Germany in the late eighties and obtained a master's degree and a Meisterschule degree. He was awarded an honorary doctorate from Kingston University in the United Kingdom. He has served as the Dean of the School of Design at the Central Academy of Fine Arts, Vice President of the Central Academy of Fine Arts, Vice President of the China Academy of Art, and currently serves as the Director of the Experimental Art Committee of the China Artists Association and the Director of the National Contemporary Art Center at the China Academy of Art. His works are collected by important institutions both domestically and internationally, including the National Art Museum of China, Shanghai Art Museum, Portland Art Museum, Ludwig Museum, and Arizona State University Art Museum.

近期展覽：

《紙(zhi)上·譚(tan)平作品展》，燦藝術中心，中國，北京(jing)，2023；

《再問——譚平(ping)繪畫》，廣(guang)州，廣(guang)東美術館，2022；

《譚平：內循環》，北京(jing)，誌屋(wu)北京(jing)，2022；

《譚平：繪畫是什么(me)1984-2021》，北京(jing)，當代唐人(ren)藝術中心，2021；

《2020：譚平場(chang)域創作》，深(shen)圳，雅昌藝術中心美術館，2020；

《雙重(zhong)奏：譚(tan)平回(hui)顧展》，上海，余(yu)德耀美術館(guan)，2019；

《……》，北京，元典美術館，2017；

《譚平》，丹麥霍(huo)森斯現代美(mei)術館，2017；

《彳亍——譚平個展》，美國，坦佩，亞利桑那州立大(da)學美術館，2015；

《畫(hua)畫(hua)——譚平(ping)作品展》，北京(jing)，今格空間，2015

……

 李迪

  Li Di

1986年(nian)畢業(ye)于中(zhong)央美(mei)術(shu)(shu)學(xue)院(yuan)(yuan)(yuan)油(you)畫系(xi)，1996年(nian)畢業(ye)于德(de)(de)國布倫瑞(rui)克美(mei)術(shu)(shu)學(xue)院(yuan)(yuan)(yuan)自由藝(yi)術(shu)(shu)系(xi)獲大師(shi)(shi)生學(xue)位(wei)。現為中(zhong)央美(mei)術(shu)(shu)學(xue)院(yuan)(yuan)(yuan)表現與抽象藝(yi)術(shu)(shu)研修班導師(shi)(shi)，天津美(mei)術(shu)(shu)學(xue)院(yuan)(yuan)(yuan)實驗藝(yi)術(shu)(shu)學(xue)院(yuan)(yuan)(yuan)研究生導師(shi)(shi)，寧波大學(xue)科技學(xue)院(yuan)(yuan)(yuan)設計藝(yi)術(shu)(shu)學(xue)院(yuan)(yuan)(yuan)特聘教(jiao)授(shou)。2001年(nian)獲德(de)(de)國艾茵(yin)堡藝(yi)術(shu)(shu)工(gong)(gong)作(zuo)獎金；2002年(nian)德(de)(de)國北德(de)(de)銀行與公開基(ji)金會工(gong)(gong)作(zuo)獎金等獎項(xiang)。曾在北京白盒子藝(yi)術(shu)(shu)館(guan)、德(de)(de)國紐倫堡-埃爾蘭根(gen)孔院(yuan)(yuan)(yuan)藝(yi)術(shu)(shu)空間等地舉辦個(ge)人展覽。

Li Di graduated from the Oil Painting Department of the Central Academy of Fine Arts in 1986 and obtained a Master's degree in Free Art in the Brunswick College of Fine Arts in Germany in 1996. He currently serves as a mentor for the Performance and Abstract Art Research Program at the Central Academy of Fine Arts, a mentor for graduate students at the School of Experimental Art of Tianjin Academy of Fine Arts, and a distinguished professor at the School of Design and Art at College of Science & Technology Ningbo University.His works are collected by Personal Collections and important institutions both domestically and internationally, including the National Art Museum of China, Central Academy of Fine Arts, Long Museum, Art Museum of Ningbo , and Yuan Art Museum.

近期展覽：

《留(liu)黑見(jian)白-李迪》紐倫堡素描(miao)雙年展，德(de)國紐倫堡-埃爾蘭(lan)根(gen)孔(kong)院藝術空(kong)間(jian)，2023；

《重見-李(li)迪/Meet-Li Di》寧波(bo)出(chu)入藝(yi)術(shu)，2022；

《中華HB，對沖·空間(jian)的(de)再造》，北京元(yuan)典美術館，2015；

《李迪作品》，法國馬賽歐洲(zhou)文化(hua)首(shou)都(dou)年，2013；

《心起----李迪繪畫展》，寧波美(mei)術館，2012；

《借景·李迪個展》，北京在3畫(hua)廊，2012；

《在內(nei)心中奔跑---李迪(di)二十年歸國匯(hui)報(bao)展》，北(bei)京今日美(mei)術館，2011

……

馬丁·魏瑪爾

Martin Wehmer

1966年出(chu)?于(yu)德(de)國(guo)(guo)哈廷根(gen)，2009年曾798北京雙(shuang)年展策展?和(he)(he)組織者(zhe)之?。先后在中央美(mei)術(shu)學(xue)(xue)院、中國(guo)(guo)美(mei)術(shu)學(xue)(xue)院與柏林(lin)藝術(shu)?學(xue)(xue)聯合碩?項(xiang)?和(he)(he)天津美(mei)術(shu)學(xue)(xue)院擔任教授。作品被瑞?銀?、巴塞爾藝術(shu)信托、巴塞爾教育部、縵合·北京（合?創展集(ji)團(tuan)）等重要機構收藏。

Martin Wehmer was born in Hattingen, Germany in 1966. He was one of the curators and organizers of the 798 Beijing International Art Biennale in 2009. He has served as professor at the Central Academy of Fine Arts, the MA program between China Academy of Art and Universit?t Der Künste Berlin, and Tianjin Academy of Fine Arts.His works have been collected by important institutions across the world, such as the Union Bank of Switzerland, Art Basel Trust, Basel Ministry of Education, and Manhe Beijing (Hopson Development Group).

近期展覽： 《馬丁·魏瑪爾》，北(bei)(bei)(bei)京(jing)藝術咨詢有限(xian)公(gong)司，北(bei)(bei)(bei)京(jing)，中國(guo)，2022； 《其(qi)他｜他們》，Anja Knoess畫(hua)(hua)廊(lang)，科隆(long)，德國(guo)；2022； 《美麗的腳、長鼻子、性感的唇(chun)》，Anja Knoess畫(hua)(hua)廊(lang)，科隆(long)，德國(guo)，2020； 《小旗幟》，Baumgarten畫(hua)(hua)廊(lang)，弗萊堡，德國(guo)，2019； 《星空的背面》，李安姿當代空間，香港，2018； 《氣》，北(bei)(bei)(bei)京(jing)藝門畫(hua)(hua)廊(lang)，北(bei)(bei)(bei)京(jing)；2018； 《ZTEN》，Anja Knoess畫(hua)(hua)廊(lang)，科隆(long)，德國(guo)，2017； 《畫(hua)(hua)=盒(he)(he)》，獅語(yu)(yu)畫(hua)(hua)廊(lang)，上(shang)海，2016； 《望(wang)京(jing)公(gong)園的鄰居》，穎畫(hua)(hua)廊(lang)，北(bei)(bei)(bei)京(jing)，2016； 《畫(hua)(hua)=盒(he)(he)》，獅語(yu)(yu)畫(hua)(hua)廊(lang)，上(shang)海，2015； 《盒(he)(he)子里有只吃彩色(se)褲子的羊......》，北(bei)(bei)(bei)京(jing)藝門畫(hua)(hua)廊(lang)，北(bei)(bei)(bei)京(jing)，2015；

……

本·胡布希

Ben Hübsch

1963 出(chu)生于德(de)國弗萊(lai)(lai)堡(bao)(bao)(bao)(bao)，1991年碩士研究(jiu)生畢業后，自2012 年起(qi)擔(dan)任弗萊(lai)(lai)堡(bao)(bao)(bao)(bao) hKDM 美術教(jiao)授， 2018 年起(qi)擔(dan)任弗萊(lai)(lai)堡(bao)(bao)(bao)(bao) Macromedia 應用科學(xue)大學(xue)美術教(jiao)授。德(de)國藝(yi)(yi)術家(jia)協會(hui)、巴登符騰(teng)堡(bao)(bao)(bao)(bao)州(zhou)藝(yi)(yi)術家(jia)協會(hui)、巴塞爾藝(yi)(yi)術協會(hui)和(he)弗萊(lai)(lai)堡(bao)(bao)(bao)(bao)藝(yi)(yi)術協會(hui)會(hui)員(yuan)，2020 年弗萊(lai)(lai)堡(bao)(bao)(bao)(bao)藝(yi)(yi)術博覽(lan)會(hui)創始人和(he) 2021 年弗萊(lai)(lai)堡(bao)(bao)(bao)(bao)雙年展創始成員(yuan)。作品被弗萊(lai)(lai)堡(bao)(bao)(bao)(bao)當代藝(yi)(yi)術博物館、蒂羅爾州(zhou)政(zheng)府等機(ji)構(gou)和(he)政(zheng)府收藏。

Born in Freiburg in 1963, Ben Hübsch graduated with a master's degree in 1991. Since 2012, he has been a professor of fine arts at hKDM Freiburg; since 2018, he has served as a professor of fine arts at Macromedia University of Applied Sciences in Freiburg. He is a member of the Association of German Artists, the Association of Artists of Baden-Württemberg, the Art Basel Association, and the Freiburg Art Association. He was the founder of the Freiburg Art Fair in 2020 and a founding member of the Freiburg Biennale in 2021. His works are collected by institutions such as the Museum of Contemporary Art in Freiburg and the Tyrol State government.

近期展覽：

《WHO,WHERE,WHAT,WHEN》，3000 CH-Bern畫廊(lang)，2023；

《文(wen)本》，布雷薩赫拉德布魯嫩藝術圈(quan)，2023；

《Ben Hübsch，繪畫》，Podium Art，Schramberg，2023；

《13》，弗里德里希斯堡(bao)布(bu)爾，2019；

《Andiamo》，紐(niu)倫堡Annette Oechsner 畫廊，2018；

《Dwabifaga》，FAQ 畫(hua)廊，CH-巴塞爾，2018；

《Djeziri-Bonn》，F- Paris畫廊(lang)，2017；

《萊茵河上游概況(kuang)》，杜爾(er)巴(ba)赫當代(dai)藝術博物館，2017；

《快樂在一起》，萊茵(yin)河畔(pan)威爾市(shi)藝(yi)術協(xie)會(hui)，2016 ；

《在一條線上》，紐倫堡(bao) Annette Oechsner 畫廊，2015；

……

關于學術主持

About The Academic Host

迪特爾·羅斯曼

Dieter R?schmann

965年(nian)生(sheng)于德(de)國(guo)(guo)漢諾(nuo)威，藝(yi)術(shu)(shu)(shu)評論家。現居德(de)國(guo)(guo)弗賴(lai)(lai)堡(bao)。他(ta)是Artline Kunstarmin的(de)編輯，于2001年(nian)共同創立了該(gai)(gai)雜志，該(gai)(gai)雜志由(you)歐盟(meng)資(zi)助(zhu)，是一個(ge)跨國(guo)(guo)界(jie)項目，旨在連接德(de)國(guo)(guo)南部、法國(guo)(guo)和瑞士(shi)的(de)當代藝(yi)術(shu)(shu)(shu)場(chang)景(jing)。自2005年(nian)以來，它已在網上和印刷(shua)出(chu)(chu)版。除了為(wei)目錄和其他(ta)出(chu)(chu)版物撰(zhuan)寫文(wen)本外(wai)，他(ta)還定期為(wei)各種德(de)國(guo)(guo)和瑞士(shi)媒(mei)體撰(zhuan)寫關于當代藝(yi)術(shu)(shu)(shu)的(de)文(wen)章(zhang)。自2023年(nian)起，他(ta)在弗賴(lai)(lai)堡(bao)大學教授藝(yi)術(shu)(shu)(shu)批評。

Born in Hanover in 1965, he is now an art critic in Freiburg. He is the editor of Artline Kunstarmin, a magazine he co-founded in 2001, funded by the European Union as a cross-border project to connect the contemporary art scenes of southern Germany, France and Switzerland. It has been published online and in print since 2005. In addition to writing texts for catalogues and other publications, he writes regularly on contemporary art for various German and Swiss media. Since 2023 he has taught art criticism at the University of Freiburg.