南京海尚藝術(shù)《2×二》中德藝術(shù)展

南京海尚藝術(shù)《2×二》中德藝術(shù)展演出信息

2×二

展覽策劃｜Exhibition Planning

海尚藝術(shù)

Haishang Art

學術(shù)主持｜Academic Host

迪特爾·羅斯曼（Dieter R?schmann）

(德國藝術(shù)批評家，artline撰稿人，編輯)

(German art critic; Artline author, editor)

展期 | 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(shù)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(shù)中心

南京市鼓樓區(qū)中山北路346號老學堂創(chuàng)意園1號樓

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

在當代全球化背景下，藝術(shù)作為一種跨越國界和文化的語言，不斷推動著不同地域和背景的藝術(shù)家之間的對話與合作?！?×二》中德藝術(shù)家作品展則是這樣一次富有學術(shù)性的跨文化對話的重要展覽?！?×二》中德藝術(shù)家作品展是海尚藝術(shù)中心建館一周年舉辦的國際藝術(shù)項目的第二單元。此次展覽旨在通過中德兩國藝術(shù)家的交流與互動，促進兩國藝術(shù)界的互學互鑒，推動多元文化的融合與拓展。特別邀請德國著名藝術(shù)批評家Dieter R?schmann擔任學術(shù)主持，使本次展覽具備了較高的專業(yè)性和學術(shù)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(shù)主持 Dieter R?schmann

我很高興與您分享關(guān)于展覽《2x二》的一些想法。在這里，中國和德國的抽象繪畫代表——譚平、李迪、馬丁·魏瑪爾和本·胡布希進行了一場開放式對話。正如標題所預示的那樣，這不僅僅是關(guān)于對抽象主義藝術(shù)觀點的簡單積累，而是關(guān)于其多樣性——即建立關(guān)系，展示相似之處、差異之處和潛力。從這個視角來看，這個展覽可以被理解為一種通過繪畫來實現(xiàn)的文化交流。因為這也顯而易見：抽象繪畫并不是在文化真空中發(fā)展起來的，無論是在東方還是在西方，它都有不同的源頭。在歐洲，抽象藝術(shù)致力于探索視覺習慣，而美國的極簡主義藝術(shù)則作為一種反流之勢確立了自己的地位，與之相反，中國當代抽象藝術(shù)則從書法和繪畫的長期互動中汲取養(yǎng)分，這又同時激發(fā)了許多西方藝術(shù)家的靈感。如果沒有亞洲藝術(shù)的影響，歐洲和美國的現(xiàn)代藝術(shù)就不會發(fā)展成今天我們所知道的樣子。反過來，在20世紀80年代初期，中國的藝術(shù)家們開始越來越多地研究西方藝術(shù)，其理論基礎(chǔ)和各種形式，以便與日益全球化的當代藝術(shù)建立聯(lián)系。一些人前往德國學習后返回中國發(fā)展自己的藝術(shù)事業(yè)，反之亦然。

本次展覽的藝術(shù)家們也是如此。譚平于 1989 年至 1994 年在柏林藝術(shù)大學學習繪畫，畢業(yè)后成為克勞斯-傅斯曼（Klaus Fu?mann）的碩士研究生，是當今中國當代抽象藝術(shù)最重要的代表人物之一，他對中國抽象藝術(shù)的發(fā)展產(chǎn)生了持續(xù)性的影響。他是北京中國藝術(shù)研究院副院長。李迪，最初在北京中央美術(shù)學院學習油畫，1990 年前往德國攻讀第二階段藝術(shù)課程，1995 年在布倫瑞克美術(shù)學院阿維德-D-戈雷拉（Arwed D. Gorella）門下完成碩士學業(yè)。20 年后，即 2010 年，李迪回到北京。如今，他在兩個國家和兩種文化中生活和工作。

譚平 Tan Ping

譚平在本次展覽中展出的繪畫作品從根本上體現(xiàn)了這一點。藝術(shù)家將自己的繪畫實踐描述為直覺。他寫道：“對我來說，繪畫每次都是一次偶遇，從開始到結(jié)束，無論花費多長時間?！彼麑懙溃骸懊扛€條都起源于一個隨機的起點，在沒有預先定位的情況下任由其發(fā)展和擴展，直到到達我們相遇的特定地點，并'定格'在那里?！弊T平故意對此問題的結(jié)論留白，因此，這個問題是開放的，即結(jié)果是否是好的，或者我們是否只是因為它符合我們的期望或觀看習慣而覺得它是好的。不僅如此，他還保留了這種開放性，通過一次又一次地在畫布上涂抹這些 "凝固 "的狀態(tài)，將其作為想象的潛力封閉在畫面中。因此，他的覆蓋物具有夜幕籠罩世界的效果，使事物在肉眼面前消失，即使我們知道它們?nèi)匀淮嬖凇?/p>

譚平談到了 “畫布的對立面”，但這只是事實的一部分。譚平讓畫面的邊邊角角從濃重的、往往是深色的套色下露出來，讓觀眾得以窺見這些驚人的繪畫作品的舞臺空間的深處。與此同時，通過在可見部分上繪畫，他為新事物的誕生做好了準備?！弊T平說：“吸引我的是新的開始?！?消失與出現(xiàn)、結(jié)束與開始不謀而合，并在潛在的無限運動中創(chuàng)造出一種張力，這對畫作對觀眾的影響極為重要，因為畫作為觀眾打開了思考、休息和想象的空間。譚平的畫作也可以被描述為畫家的 “重寫本”（palimpsests），是對自身的回憶，其中刻有繪畫過程、不在場的藝術(shù)家身體的存在以及流逝的時間，既是最終的，又是暫時的，可以改變，在某種程度上是暫時停滯的連續(xù)性。或者正如他自己所說 “碎片填滿碎片，時間覆蓋時間”。

譚平《覆蓋一號》200×200cm 丙烯 2018

譚平的繪畫是在意義的置換、交換和疊加過程中出現(xiàn)的，它在前影像和后影像的共存、挪用和擦除的同時性中展開，從而同時為我們的可見性秩序提出了一個系統(tǒng)：在通過畫筆的蜿蜒和顏料的層疊形成影像和影像飽和的過程中，以及在觀眾的部分，通過自己的投射或想象的經(jīng)驗讓影像再次出現(xiàn)在自己面前。 

譚平《覆蓋二號》200×200cm 丙烯 2018

馬丁·魏瑪爾 Martin Wehmer

在譚平深度自省的繪畫背景下，值得留意馬丁·魏瑪爾的雙聯(lián)畫作《星空的背面》。在這幅作品中，兩個十字架將畫面空間劃分為四個色域，每個色域的赭色和黃色漸變不同。其中一個十字架讓人聯(lián)想到窗戶十字架——可以從中看出萊昂·巴蒂斯塔·阿爾貝蒂（Leon Battista Alberti）將繪畫比喻為 "窗外的世界"（finestra aperta）——由藝術(shù)家框定的世界觀，這一比喻塑造了歐洲從 15 世紀到現(xiàn)代對繪畫的理解。另一個十字架讓人聯(lián)想到圣安德魯十字架（警告危險）和字母 "X"，"X "通常用于在選舉中為候選人畫十字、勾選已完成的事情或覆蓋已失去效力的文字。這些十字架是用木板條擰在畫作表面的，因此有多種可能的解釋。它們是穩(wěn)定畫面還是橫跨畫面，是保護畫面還是擦除畫面，是技術(shù)輔助還是繪畫標志？"星空的背面 "是這幅雙聯(lián)畫的標題，既詩意又冷靜，圍繞著可見性和隱蔽性的問題。它將我們的視線引向我們在這幅抽象作品中可能看到的東西，即紙板色的、并不華麗的星空背面，我們習慣于將我們的夢想和欲望投射到星空背面。

馬丁·魏瑪爾《Raute》120×90cm 布面油畫 2017

馬丁·魏瑪爾的繪畫復雜的意義層和恬靜而常常令人驚奇的幽默是其繪畫的典型特征。他以大規(guī)模的圓形和弧段抽象畫在德國廣為人知，受到了1910年代羅伯特·德勞內(nèi)（Robert Delaunay）的奧費立體主義的啟發(fā)，并以把握空間的姿態(tài)一躍成為當代藝術(shù)家。移居北京后，隨著教學生涯的開始，他在中國找到了自己的繪畫之路，在對藝術(shù)史參照物以及時尚、美和流行文化的表面刺激的研究中，他將畫家的感覺帶到了畫布上，只用顏料就創(chuàng)造出了最美麗的欲望火花。本次展覽中展出的油畫《橙色褲子》就是這種色彩欲望釋放的一個很好的例子：油畫布上的油畫顏料豐富而花哨，在明黃色的底色上，橙色、紫色和群青藍形成鮮明對比，構(gòu)成了一條游泳短褲的縮小圖。在這里，魏爾瑪用強有力的動作將繪畫表現(xiàn)為姿態(tài)抽象與顏料的結(jié)構(gòu)物質(zhì)性之間的平衡，顏料的結(jié)構(gòu)物質(zhì)性將畫布的表面延伸到浮雕空間中，并以這種方式在繪畫的對象性存在和繪畫性特質(zhì)之間創(chuàng)造出一種閃爍的張力。

馬丁·魏瑪爾《he》160×220cm 布面油畫 2015

對于馬丁·魏瑪爾來說，抽象決不意味著對形象的放棄或拒絕，而對他來說，抽象只是一種借口，讓繪畫遵循自己的規(guī)律，尋找自己的節(jié)奏、自己的色彩和形式的經(jīng)濟性以及自己的模糊性。平放的文件夾對應一個淺灰色背景的簡化視圖，這使得它在非具象的色彩場繪畫與象征著文件夾所代表的秩序的曖昧的靜物之間搖擺不定。而《德國抽象》這兩幅繪畫則以微妙的諷刺暗示了德國價值觀的刻板印象，這種觀念很容易被當作可靠性、功能性、持久價值和創(chuàng)新精神來推銷。這些繪畫暗示著，抽象繪畫并非形而上學的對象，而像木工一樣是一種工藝。用隱喻的方式來說：繪畫是一堆木板和護墻板，通過螺栓擰緊成合理的結(jié)構(gòu)，做到言之有物。馬丁·基彭貝格或許會以類似的方式來看待這一點。在1984年，這位聲名顯赫、活躍于西德新表現(xiàn)主義繪畫場景的藝術(shù)家畫出了作品《我竭盡全力完全無法辨認出個卍字》，這幅作品是由不合邏輯地交錯在一起的梁木組成的緊張構(gòu)圖，其實它并未真正描繪一個“卍”字，但這個標題讓每個看到的人尋找它，這幅畫可以被理解為對德國罪行和對國家施行者來說復雜歷史的一種聰明而諷刺的評論。

李迪 Li Di

馬丁·基彭貝格爾（ Martin Kippenberger）與沃爾特·達恩（Walter Dahn）是朋友，后者是約瑟夫·博伊斯（Joseph Beuys）的學生，后來成為李迪在布倫瑞克美術(shù)學院的老師。達恩和基彭貝格爾共同致力于具象和繪畫自由，以擺脫自 20 世紀 70 年代以來主導西方藝術(shù)話語的極簡藝術(shù)的嚴謹概念。這對李迪并非沒有影響。在2016年與方振寧的訪談中，他將瓦爾特·達恩（Walter Dahn）視為早年在德國受到的最重要影響。即使是李迪 2011 年回國后在北京今日美術(shù)館展出的畫作，也明顯受到德國新表現(xiàn)主義以及中國傳統(tǒng)水墨畫的影響。此后不久，他說：他開始尋找減去的方法，以獲得一種更自由、更簡單的語言?！?他也說：”抽象是對語言本身的回歸。"如果繪畫不回歸其本身的語境，它就只能是膚淺的吸引人的形式的集合"。

李迪《留白系列》

對李迪來說，作為在繪畫行為中實現(xiàn)思想的藝術(shù)過程成為了他作品的中心。"這個過程既是個人經(jīng)驗的沉思和表達，也是繪畫研究和形式元素的體驗"。2015年，李迪花了一個月的時間，在一面25米長的墻上用鉛筆畫了成千上萬條線，這是他最激進的作品之一。與他使用的材料--800 支中華HB 鉛筆--相比，這件作品所需的腦力和體力是無法計算的。這給人留下了深刻印象，也極富詩意地證明了一個事實，即圖像永遠不會等同于所用材料的總和。身臨其境的繪畫裝置讓觀眾不僅看到了創(chuàng)造這一圖像的創(chuàng)作過程，而且還切身感受到了這一過程。同時，它還消解了圖像與墻壁之間的界限，讓兩種空間狀態(tài)相互擴散。在概念藝術(shù)、行動繪畫的實體性和中國傳統(tǒng)水墨畫的象征性虛空的交匯中，李迪在東西方期待的文化領(lǐng)域中進行實驗的非凡樂趣在這里得到了展現(xiàn)。

李迪《留白》90×65cm 紙上碳素 2023

李迪的作品 "中華HB "雖然充斥著各種符號，但其周圍卻是一片寂靜，就像剛下過的雪覆蓋了一切，改變了事物的形狀和聲音，使其化為陰影，讓人難以相信自己的感官。韓裔德國哲學家韓炳哲（Byung-Chul Han）創(chuàng)造了 "遠離"（being away）一詞，用來形容這種事物變得模糊不清的過渡空間，并將其與西方的 "存在"（being）概念進行對比，后者蘊含著包含、意義和滿足的含義。在《論遠東的文化與哲學》一文中，韓炳哲寫道："缺席就是冷漠。它具有液化和劃界的效果。沒有任何東西強加于自己，沒有任何東西劃定自己的界限"。通過這種方式，缺席使空間具有滲透性。"它拓寬了空間，一個空間為另一個空間提供了空間，而另一個空間又為更多的空間提供了空間。概念性將世界封閉在西方思想所熟悉的線性、賦予意義的敘事中，與此相反，禪宗思想認為在空虛中獲得自由。

李迪《留白》140×120cm 布面丙烯 2023

李迪目前展出的兩個系列作品都提到了這種空，一個以布面繪畫為媒介，另一個以紙本繪畫為媒介。這兩個系列都以 “留白" 為題。所謂 "留白"，是指中國書法和繪畫中常用的一種技法，即故意留出空隙，給人以想象的空間，使整個作品更加和諧、優(yōu)美。在該系列繪畫的五塊畫布上，每塊畫布都涂有不同的底色，數(shù)十條銀灰色的短線無序地排列著。雖然沒有兩組順序相同，但它們似乎都遵循著一個共同的原則。在每個集群中，線條之間的距離都是相似的，就像李迪在演練一種理想的多人組織，他們在條件允許的情況下相互給予對方足夠的空間。這些畫面透著體貼與尊重、關(guān)懷與集體。手寫的筆畫節(jié)奏及其界定的空白空間是漫無目的漂移的結(jié)果，但這種漂移并不自由，而是遵循自我設(shè)定的規(guī)則，如筆畫的粗細或圖像格式。線條的數(shù)量略有不同；密度不同的印象通過畫面底色的變化得到補償。紙上系列作品遵循同樣的形式原則，同樣名為 "留白"，結(jié)合了炭筆畫和蝕刻這兩種技術(shù)，對時間和身體的使用要求可以想象是不同的，并且結(jié)合了自發(fā)性和惰性。這些作品簡潔優(yōu)雅，情緒高昂，同時又有節(jié)制，為沉思創(chuàng)造了極具吸引力的空間。

本·胡布希 Ben Hübsch

對于本·胡布希來說，吸引力和抽象性也并非對立。在他的作品中，藝術(shù)家將漫畫和流行文化、設(shè)計和裝飾藝術(shù)的符號系統(tǒng)與受歐洲和美國影響的非具象繪畫相結(jié)合。他注重色彩和對比的和諧，以及對表面的鮮明興趣?！澳闼吹降木褪悄闼吹降模泵绹嫾腋ヌm克·斯特拉在上世紀60年代中期與唐納德·賈德共同撰寫的一篇文章中如此斷言。這個聲明長期以來被視為極簡主義藝術(shù)和分析繪畫的形式主義信條，是對抽象表現(xiàn)主義進行有意義抽象、剝離其舊有價值的純視覺對象的結(jié)果，正如斯特拉所寫：“反人道、工業(yè)化和沒有表情?！?/p>

本·胡布希

本·胡布希也努力將他的繪畫摒棄一切手勢的因素。個體手寫風格的中立化與他對裝飾作為秩序原則的興趣相一致，后者建立在繪畫的一個中心基本元素之上：將表面劃分為兩個平面的線條。本·胡布希的繪畫長期以來就處于幾何抽象表面與虛擬的空間自然主義之間的邊界。他這樣做并不沒有幽默感。他的畫作結(jié)合了具體繪畫和硬邊細節(jié)元素，但始終顛覆了這些概念的純粹原則。這里的形象的清晰度旨在情感上的而非理性上的——與李迪不同的是，它的放大倍數(shù)更高。本·胡布希從銳利輪廓的彩色帶開始，讓它們在畫布上波動擴散，編織成密集的對角網(wǎng)格，用模糊的黑白照片般的圖像遮蓋它們，或者用類似模板的上繪將其分解成個別部分，使它們像被炸飛的圖像構(gòu)思的碎片一樣漂浮在空間中，他的繪畫充滿了藝術(shù)史的飽和度，然而又仿佛是數(shù)字美學的共鳴室。他的畫作的輝光部分源于強烈的、常常是霓虹色彩和其閃爍對比的一部分。同樣重要的是他長時間進行實驗的色彩漸變。起初，只是在帶子網(wǎng)格之間填充細膩的由刷子繪制的漸變色彩，從而將他的畫作擴展到一個想象的空間中，而現(xiàn)在所有這些元素都在閃亮的色彩譜中振蕩。

本·胡布?！禕uy and sell》45×45cm 丙烯酸樹脂 2021

最近，寫作已經(jīng)滲入他繪畫的符號系統(tǒng)中，常常具有讓人驚嘆的偽裝傾向。這次展覽中的作品《買賣》和《再見》就是其中的例子。字母的曲線、輪廓和內(nèi)部色彩交織、鎖緊，并與明亮的背景形成對比，以至于它們傳達的含義在層疊形式的形態(tài)叢林中難以辨識。它們偽裝了他們的信息，拒絕清晰傳達，但又像信號一樣閃耀。本·胡布希說，他的字體圍繞著藝術(shù)的本質(zhì)展開。它們探討能見度和感知、制作和接受、畫布和繪畫轉(zhuǎn)化為文化和經(jīng)濟資本的問題。在這樣做的同時，它們也同時提出了一個問題：在數(shù)字時代，還能否想象到阿德·雷因哈特（Ad Reinhardt）所說的抽象藝術(shù)的存在。

本·胡布希《Augen》40×55cm 丙烯酸樹脂  2018

“藝術(shù)就是藝術(shù)本體，其他一切就是其他一切”，這位美國畫家曾說過。他以他自己稱之為“冥想面板”的“黑畫”而聞名，那些畫被剝?nèi)チ朔?、?nèi)容、陳述、風格和構(gòu)圖等據(jù)稱與其本質(zhì)無關(guān)的元素——“非具體的，非再現(xiàn)的，非形象的，非意象的，非表現(xiàn)主義的，非主觀的”。在西方藝術(shù)討論中，這些畫作早就被解釋為繪畫史的消失點，作為其“最后的繪畫”。然而，從東方的觀點來看，黑色的畫布并不意味著結(jié)束，而是為一個新的開始鋪平道路，這暗示了抽象繪畫的潛力仍然是無窮的。

學術(shù)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(guān)于藝術(shù)家

About The Artists

譚平

Tan Ping

藝術(shù)家、教育家，1984年畢業(yè)于中央美術(shù)學院，八十年代末留學德國柏林藝術(shù)大學，獲碩士學位和Meisterschule學位。英國金斯頓大學榮譽博士。曾任中央美術(shù)學院設(shè)計學院院長、中央美術(shù)學院副院長，中國藝術(shù)研究院副院長，現(xiàn)任中國美術(shù)家協(xié)會實驗藝術(shù)委員會主任，中國藝術(shù)研究院國家當代藝術(shù)中心主任。作品被中國美術(shù)館、上海美術(shù)館、波特蘭美術(shù)館、路德維希博物館、亞利桑那州立大學美術(shù)館等國內(nèi)外重要機構(gòu)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：

《紙上·譚平作品展》，燦藝術(shù)中心，中國，北京，2023；

《再問——譚平繪畫》，廣州，廣東美術(shù)館，2022；

《譚平：內(nèi)循環(huán)》，北京，誌屋北京，2022；

《譚平：繪畫是什么1984-2021》，北京，當代唐人藝術(shù)中心，2021；

《2020：譚平場域創(chuàng)作》，深圳，雅昌藝術(shù)中心美術(shù)館，2020；

《雙重奏：譚平回顧展》，上海，余德耀美術(shù)館，2019；

《……》，北京，元典美術(shù)館，2017；

《譚平》，丹麥霍森斯現(xiàn)代美術(shù)館，2017；

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

《畫畫——譚平作品展》，北京，今格空間，2015

……

 李迪

  Li Di

1986年畢業(yè)于中央美術(shù)學院油畫系，1996年畢業(yè)于德國布倫瑞克美術(shù)學院自由藝術(shù)系獲大師生學位?，F(xiàn)為中央美術(shù)學院表現(xiàn)與抽象藝術(shù)研修班導師，天津美術(shù)學院實驗藝術(shù)學院研究生導師，寧波大學科技學院設(shè)計藝術(shù)學院特聘教授。2001年獲德國艾茵堡藝術(shù)工作獎金；2002年德國北德銀行與公開基金會工作獎金等獎項。曾在北京白盒子藝術(shù)館、德國紐倫堡-埃爾蘭根孔院藝術(shù)空間等地舉辦個人展覽。

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：

《留黑見白-李迪》紐倫堡素描雙年展，德國紐倫堡-埃爾蘭根孔院藝術(shù)空間，2023；

《重見-李迪/Meet-Li Di》寧波出入藝術(shù)，2022；

《中華HB，對沖·空間的再造》，北京元典美術(shù)館，2015；

《李迪作品》，法國馬賽歐洲文化首都年，2013；

《心起----李迪繪畫展》，寧波美術(shù)館，2012；

《借景·李迪個展》，北京在3畫廊，2012；

《在內(nèi)心中奔跑---李迪二十年歸國匯報展》，北京今日美術(shù)館，2011

……

馬丁·魏瑪爾

Martin Wehmer

1966年出?于德國哈廷根，2009年曾798北京雙年展策展?和組織者之?。先后在中央美術(shù)學院、中國美術(shù)學院與柏林藝術(shù)?學聯(lián)合碩?項?和天津美術(shù)學院擔任教授。作品被瑞?銀?、巴塞爾藝術(shù)信托、巴塞爾教育部、縵合·北京（合?創(chuàng)展集團）等重要機構(gòu)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》，北京藝術(shù)咨詢有限公司，北京，中國，2022； 《其他｜他們》，Anja Knoess畫廊，科隆，德國；2022； 《美麗的腳、長鼻子、性感的唇》，Anja Knoess畫廊，科隆，德國，2020； 《小旗幟》，Baumgarten畫廊，弗萊堡，德國，2019； 《星空的背面》，李安姿當代空間，香港，2018； 《氣》，北京藝門畫廊，北京；2018； 《ZTEN》，Anja Knoess畫廊，科隆，德國，2017； 《畫=盒》，獅語畫廊，上海，2016； 《望京公園的鄰居》，穎畫廊，北京，2016； 《畫=盒》，獅語畫廊，上海，2015； 《盒子里有只吃彩色褲子的羊......》，北京藝門畫廊，北京，2015；

……

本·胡布希

Ben Hübsch

1963 出生于德國弗萊堡，1991年碩士研究生畢業(yè)后，自2012 年起擔任弗萊堡 hKDM 美術(shù)教授， 2018 年起擔任弗萊堡 Macromedia 應用科學大學美術(shù)教授。德國藝術(shù)家協(xié)會、巴登符騰堡州藝術(shù)家協(xié)會、巴塞爾藝術(shù)協(xié)會和弗萊堡藝術(shù)協(xié)會會員，2020 年弗萊堡藝術(shù)博覽會創(chuàng)始人和 2021 年弗萊堡雙年展創(chuàng)始成員。作品被弗萊堡當代藝術(shù)博物館、蒂羅爾州政府等機構(gòu)和政府收藏。

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，2023；

《文本》，布雷薩赫拉德布魯嫩藝術(shù)圈，2023；

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

《13》，弗里德里希斯堡布爾，2019；

《Andiamo》，紐倫堡Annette Oechsner 畫廊，2018；

《Dwabifaga》，F(xiàn)AQ 畫廊，CH-巴塞爾，2018；

《Djeziri-Bonn》，F(xiàn)- Paris畫廊，2017；

《萊茵河上游概況》，杜爾巴赫當代藝術(shù)博物館，2017；

《快樂在一起》，萊茵河畔威爾市藝術(shù)協(xié)會，2016 ；

《在一條線上》，紐倫堡 Annette Oechsner 畫廊，2015；

……

關(guān)于學術(shù)主持

About The Academic Host

迪特爾·羅斯曼

Dieter R?schmann

965年生于德國漢諾威，藝術(shù)評論家?，F(xiàn)居德國弗賴堡。他是Artline Kunstarmin的編輯，于2001年共同創(chuàng)立了該雜志，該雜志由歐盟資助，是一個跨國界項目，旨在連接德國南部、法國和瑞士的當代藝術(shù)場景。自2005年以來，它已在網(wǎng)上和印刷出版。除了為目錄和其他出版物撰寫文本外，他還定期為各種德國和瑞士媒體撰寫關(guān)于當代藝術(shù)的文章。自2023年起，他在弗賴堡大學教授藝術(shù)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.