上海狮語｜马丁·恩格勒：绘画的静止世界——阿明·勃姆、牟桓与绘画之无形深渊
意志与表象的世界
Die Welt der Wille und Vorstellung
上海狮語画廊
Leo Gallery Shanghai
艺术家｜阿明·勃姆、牟桓
Artists｜Armin Boehm, Mou Huan
策展人｜沈奇岚博士、马丁·恩格勒博士
Curators｜Dr. Shen Qilan, Dr. Martin Engler
展期 Duration｜2022.11.12-2023.2.26
武康庭｜上海徐汇区武康路376号
Ferguson Lane｜ 376 Wu Kang Road, Xuhui District, Shanghai
主办：狮語画廊(中国) & 彼得·科尔西曼画廊(苏黎世)
Organizers: Leo Gallery China & Galerie Peter Kilchmann Zurich
绘画的静止世界
阿明·勃姆、牟桓与绘画之无形深渊
文/马丁·恩格勒
约尔格·伊门多夫 Jörg Immendorff（1945-2007）
《衰退》阿明·勃姆个展，瑞士彼得·基尔希曼画廊，2018
Armin Boehm - Involution, Galerie Peter Kilchmann, Zurich, 2018
与此同时，伊门多夫是约瑟夫·博伊斯（Josef Beuys）最著名的弟子。众所周知，博伊斯的艺术与伊门多夫的绘画一样，关注政治和社会议题。与此同时，博伊斯始终拒绝将绘画作为艺术媒介，他是一种新的非视觉艺术——“观念艺术”的主要代表人物之一。因此，伊门多夫的绘画在一个复杂的张力场域中游离，在每一个画面中都在重新审视自己：绘画可以做什么、绘画被允许做什么、又不被允许做什么？面对20世纪60年代和70年代高度政治化的社会，它是否仍然是一种合适的媒介？
阿明·勃姆 Armin Boehm
夫妇 Paar
木板油画、织物、纸、金属颜料
Oil, Paper, Fabric, Metal Pigment on Wood
100 x 110cm, 2012
很明显，勃姆和牟桓和他们的老师一样选择了绘画。对他们两人来说，政治和社会也是，但又并不完全是他们绘画的主题：肖像、静物、抽象或被抽象化作品与含蓄或明确的政治意象交替出现。当然，分别在德国和中国的两名学生的绘画方式也发生了变化：他们的绘画不再以不间断的鼓舞煽动为特质，而是以抽象的方式围绕其主题形成，又或以阿明·勃姆为例，使用非绘画原有的材料进行创作。
此次展览为观者提供了一个独特的机会来比较这些互不相同却又有所关联的绘画世界。阿明·勃姆和牟桓的特定的两幅作品一方面表明了两位伊门多夫的学生之间的密切关系，另一方面也展示了他们各自如何进一步发展了他们老师的绘画方法。
牟桓 Mou Huan
核潜艇 Atom-U-boot
布面丙烯 Acrylic on Canvas
130 x 150cm, 2013
阿明·勃姆2015年创作的《暴乱》（Riot）和牟桓的作品，如2022年创作的《亚速港》（Port of Azov）或2013年创作的《核潜艇》（Atom Submarine），都在具象与抽象的边界上发展出了一种非同寻常的绘画方式。这些图像都来自于乌克兰战争中城市动乱或是既迷人又邪恶的战争素材。现实的、政治的、绘画的主题似乎在他们的画作中逐渐消解了，但这并不是因为他们的绘画主题与此不再关联。在这些既美丽又令人深深恐惧的画面中表现出的是一种罕见的和谐——一种在内容上让画面与其创作者动容的东西与两位创作者如何以全然属于自己的绘画方式将这种动容在画面上避免了过多阐释而得以实现的和谐。
阿明·勃姆 Armin Boehm
暴乱（墨西哥）Riot (Mexico)
布面油画、沥青、漆、玻璃、纸张
Oil, Asphalt, Laquer, Glass and Paper on Canvas
140 x 160cm, 2015
这些描绘战战乱与破坏、混乱与动荡的画面所透露出的残酷与深不可测的本性反映在可以从字面意义理解的“深渊”，即无底（bottomless）的绘画中：这些绘画及其主题似乎面临着消解的危险，仿若将要消失在战争和暴力的无形深潭之中。但阿明·勃姆和牟桓的画作拒绝屈从于这一看似不可避免的威胁。与其说他们所强烈反对的是博伊斯等人提出的对绘画的禁令，不如说他们的作品是一种防御，为了保护世界不被抽象的深渊所消解——每一幅画作都是一场为使我们当下艺术中的物体、身体与空间不至于消散的抵抗。
《意志与表象的世界》上海狮語画廊，2022
Die Welt der Wille und Vorstellung, Leo Gallery Shanghai, 2022
Still Painting Worlds
Armin Boehm, Mou Huan and the abysses of painting
Text/Martin Engler
《衰退》阿明·勃姆个展，瑞士彼得·基尔希曼画廊，2018
Armin Boehm - Involution, Galerie Peter Kilchmann, Zurich, 2018
Jörg Immendorff was one of the most important teachers, forerunners, and sources of ideas for a young generation of painters in Germany and Europe in the 1980s: those who went down in painting history as the so-called 'Neue Wilden'. And his influence as a painting professor in Europe and Asia was enormous until his death and beyond.
牟桓 Mou Huan
废弃的东德兵营 Verlassen Kaserne
布面丙烯 Acrylic on Canvas
170 x 190cm, 2014
Unlike the vast majority of artists of his generation, Immendorff's painting was always committed to its political and social environment. In particular, the conflict between the two German states and its overcoming were a central concern of his art. His paintings were and are remarkable in many respects - then and now: they are political and figurative, engaged and yet committed to their tradition. They were history paintings at a time when history, especially contemporary history, was not a subject of painting. And have revived this genre. Immendorff thus forms a bridge that connects German Expressionism or the Neue Sachlichkeit of the 1930s with the paintings of Armin Boehm and Mou Huan.
牟桓 Mou Huan
气罐 Tank
布面油画 Oil on Canvas
80 x 100cm, 2014
At the same time, Immendorff is the best-known disciple of Josef Beuys, whose art is known to have been as interested in political and social issues as Immendorff's painting. At the same time, Beuys, with his consistent rejection of painting as the medium of his art, is one of the main representatives of a new non-retinal art: 'conceptual art'. Immendorff's painting thus moves in a complex field of tension between a painting that asks itself anew in every picture: What can painting do, what is it allowed to do, and what is it not allowed to do? Is it even still a medium that is appropriate in the face of the highly politicized society of the 1960s and 70s?
《意志与表象的世界》上海狮語画廊，2022
Die Welt der Wille und Vorstellung, Leo Gallery Shanghai, 2022
Boehm and Mou, like their teacher, have obviously chosen painting. For both, the political and social is also, but not exclusively, the subject of their painting: portraits, still lifes, abstract or abstracted works alternate with implicitly or explicitly political images. And, of course, the painterly approach of the two students in Germany and China has changed: Their paintings are no longer characterized by unbroken agit prop, but by a painting that circles its subjects with abstract means or - in the case of Armion Boehm - materials foreign to painting.
The exhibition "Die Welt der Wille und Vorstellung" offers the unique opportunity to compare these equally different, as well as related pictorial worlds. Two particular works by Armin Boehm and Mou Huan on the one hand illustrate this closeness of the two Immendorff students to each other and on the other hand at the same time show where they further develop the painterly approach of their teacher.
《意志与表象的世界》上海狮語画廊，2022
Die Welt der Wille und Vorstellung, Leo Gallery Shanghai, 2022
Armin Boehm's Riot (Mexico) (2015), and works by Mou Huan such as Port of Azov (2022), or Atom Submarine (2013), both develop an extraordinary approach to painting on the border between figuration and abstraction. These are images of urban unrest, from the Ukraine War, or of fascinatingly evil war material. The reality, the political, the pictorial subject seems to dissolve more and more in their paintings， but this is not because the subject of their painting loses its relevance. What manifests itself in these at the same time beautiful and deeply frightening pictures is a rare harmony between what moves the picture and its creators in terms of content and how they implement it, without becoming illustrative, with their very own painterly means.
牟桓 Mou Huan
坦克 Panzer
布面丙烯 Acrylic on Canvas
165 x 200cm, 2022
The abysmal and brutal nature of these images of war and destruction, chaos and turmoil is reflected in the – in the literal sense of the word – abysmal, i.e.bottomless paintings: the paintings and their objects seem to run the risk of dissolving, disappearing into the formless abyss of war and violence. However, the paintings of Armin Boehm and Mou Huan refuse to concede to this seemingly inescapable threat. What they paint against with all vehemence is not so much the ban on painting postulated by Beuys and others, but rather their pictures are a defense of the world against its dissolution in the abyss of abstraction: each picture is a defence against the loss of the object, of body and space in the art of our present.
关于艺术家 About the Artists
阿明·勃姆
Armin Boehm
阿明·勃姆，1972年生于德国亚琛，他曾在杜塞尔多夫国家艺术学院师从康拉德·克拉佩克（Konrad Klapheck）和约尔格·伊门多夫（Jörg Immendorff），现工作、生活于柏林。
勃姆用令人着迷的色彩在他的作品中绘制出可形的心理关系，将他的主题嵌入到比喻、象征和充斥着文化引借的绚丽世界中。在他的布面作品中，他使用拼贴技术将颜料、织物、纸或金属的碎片整合起来，使得作品主题从如雕塑般物化在现实空间内的物件中显形。
勃姆的作品曾在德国、丹麦、瑞士、美国等多个国家与地区的著名画廊参加个展和联展。他的作品也曾亮相香港巴塞尔艺术展、纽约军械库艺术展、巴塞尔迈阿密海滩艺术博览会、艺术科隆等重量级国际艺博会。
Armin Boehm, born in Aachen, Germany in 1972, studied at the Staatliche Kunstakademie Düsseldorf with Konrad Klapheck and Jörg Immendorff. He now lives and works in Berlin.
With a mesmerising use of color that draws visible psychological relationships across his compositions, Boehm embeds his subjects into a prismatic world of figuration, symbolism, and cultural reference. In his works on canvas, he uses the technique of collage to conjoin fragments of paint, fabric, paper or metal, substances from which his subjects emerge, almost sculpturally materialising in concrete space.
Boehm’s work was featured in exhibitions in many famous galleries across multiple countries like Germany, Denmark, Switzerland, the United States and other. His works have also been exhibited at Art Basel Hong Kong, the Armory Show in New York, Art Basel Miami Beach, Art Cologne and other major international art fairs.
牟桓
Mou Huan
牟桓，1959出生于四川成都，毕业于四川美术学院、德国杜塞尔多夫艺术学院。他师从世界知名的“新表现主义”艺术大师伊门道夫，行走在中西两种文化之间，深厚的中国艺术底蕴与德国新表现主义对其带来的影响并置在他的绘画作品中，既有宏大叙事、也有存在与虚无、以及深处的诗意。
牟桓的作品不能简单地归类于某一特定的学派或走向。他的作品源于简朴和诗意，他总是赋予极富个性以及引人深思的描绘，从隐喻表达和象征形式出发，牟桓在创作过程中避免了不必要的笔触，给观众留出了更多的想象空间，同时带来了新的视觉体验，非常重视绘画作品为人们带来的精神碰撞。他准确又巧妙地打开了绘画和诠释领域的一扇更为广泛以及更具创新性的大门，即东西方文化结合的现实意义。
牟桓已经在欧洲与亚洲多国举办个展与联展，包括德国柏林中国文化中心、索林根艺术博物馆、歌德学院、西班牙IVAM 瓦伦西亚现代艺术博物馆、上海喜马拉雅美术馆、北京OCA 展览中心等。
Mou Huan, born in 1959, graduated from Sichuan Academy of Fine Arts and Dusseldorf Art Academy, Germany. He studied with Jörg Immendorff, the world-renowned neo-expressionist art master.
Treading between the Chinese and the Western cultures, Mou has been influenced by the profound heritage in Chinese art as well as German neo-expressionism. With both influence expressed in his painting, his works are characterized by grand narrative, existence and nihility, and poetic temperament deep within.
Mou Huan has held solo and group exhibitions in Europe and Asia, including the Chinese Cultural Center in Berlin, the Solingen Museum of Art, the Goethe Institute, IVAM in Valencia, Shanghai Himalayas Museum, and the OCA Exhibition Center in Beijing.
关于策展人 About the Curators
马丁·恩格勒博士
Dr. Martin Engler
马丁·恩格勒是一位艺术史学家，自2008年起担任德国法兰克福施泰德博物馆的当代艺术部门负责人，曾任汉诺威艺术协会的策展人。自1998年以来，他在德国、瑞士和法国的多所学院和大学担任讲师，重点讲授当代艺术和艺术理论。他也是VAF意大利艺术基金会的顾问委员会、国际艺术评论家协会（AICA）和国际当代艺术策展人协会（IKT）的成员。
Martin Engler is an art historian and head of the contemporary art department at the Städel Museum Frankfurt in Germany since 2008. He has been a curator of Kunstverein Hannover from 2002–2008. Since 1998, he is a lecturer with a focus on Contemporary Art and Art Theory at various academies and universities in Germany, Switzerland, and France. He is a member of the Advisory Board of the VAF Foundation for Italian Art, a member of AICA, International Association of Art Critics and IKT, International Association of Curators of Contemporary Art.
沈奇岚博士
Dr. Shen Qilan
沈奇岚，艺术评论人，策展人，作家，德国明斯特大学哲学博士。曾任《艺术世界》杂志社编辑部主任，出版社艺术主编。与国内外艺术机构策划有多个富有国际影响力的展览和论坛项目。为多家国际艺术媒体和艺术机构撰写专栏和画册文章，包括上海博物馆、上海龙美术馆，意大利乌菲齐美术馆、澳大利亚当代艺术馆、意大利Skira出版社等。
Shen Qilan is an art critic, curator, writer. She received her PhD in philosophy from the University of Münster, Germany. She was the editorial director of Art World magazine and the chief art editor of the publishing house. She has curated several prestigious exhibitions and forums with domestic and international art institutions. Shen has written columns and catalogue articles for several international art media and art institutions, including the Shanghai Museum, Long Museum, Shanghai, the Uffizi Gallery, Italy, Museum of Contemporary Art Australia, and Skira Press in Italy.
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