瑜舍特展-邀请函 |「隐秘的能量」9月18日 18 : 30 在瑜舍开幕！
隐秘的能量 Hidden Energy
艺术家 | Artist艾恩 Arnd Christian Mueller 策展人 | Curator
唐泽慧 Tang Zehui
展期 | Duration
2020 / 09 / 18 - 2020 / 11 / 30
地址 | Location
瑜舍酒店 北京市朝阳区三里屯路11号
The Opposite House Building 1, No. 11 Sanlitun Road, Chaoyang District, Beijing
Tel: +86 10 6417 6688
艾恩是一位旅居北京的德国室内建筑师和艺术家，本次展览呈现了作为艺术家的艾恩最具代表性的两个系列：“锤骨”和“铸造”系列，它们都与艾恩对移民工人的关注相关。如果说建筑师的经历使他深入而具体地参与到中国城市化进程中，深切体验到过去二十年中国社会、经济的巨变和种种力量在现实中的博弈，那么艺术家的身份则赋予他一种观察者的视角，一种超越性和反思性的目光。
“锤骨”系列的锤子由艾恩从中国各地的建筑工地、汽车修理厂等地方收集而来，它们是工人们在现场制作的，每一个都独一无二。在艾恩看来，这些大小、形状、重量不一的锤子代表了一种在有限的条件下随机应变的本土智慧，一种有些粗糙，却灵活有效的解决问题的方式。
Great Wall长城
Malleus Series 锤骨系列 2016
Steel, resin 钢，树脂
96 cast bricks, various dimensions, site specific
96块树脂砖，尺寸可变，视场地而定
收集来的锤子成为艾恩创作的基本语汇，它们携带着原有的文化和社会符码，携带着记忆和情感进入作品，在艺术家的重新编排之下生成新的意义，形成了交叠的多重文本。在“铁锤墙”中，这些锤子被封印在透明的树脂砖块中，纪念碑一般的静穆。它们的片段状态让其意义指向变得模棱两可，让我们想起长城，想起那些拆迁中的残垣断壁，而同样它们也可能是正在拔地而起的高楼。在他为本次展览所特别创作的新作“风筝”中，这些锤子有了一种更诗意的表达，它们神奇地悬浮在特制的展柜中，仿佛时光静止一般。艾恩用最不可能的材料去模拟“风筝”这种古老而在今天的中国仍然流行的玩具，束缚与自由，运动与静止，沉重的躯体与轻盈的灵魂，仿佛是一个充满矛盾又引人入胜的隐喻。
如果说每一把锤子背后都有一个默默无闻却鲜活的生命，“铸造”系列则试图让这些隐匿的劳动者进一步显形。它们是艾恩在中国北方的一个小铸造厂里跟工人们一起完成的。他在沙地里挖出大小不等、形状不一的人形浅坑，然后用直接浇铸的方式得到这些雕塑，铸造所用的材料来自现场收集的废铁。这些半身像被直接放在地上，像从土里长出来的庄稼一样，沉默、粗粝，却有一种动人心魄的力量。
策展人，唐泽慧
2020年9月，北京
Anonymous Workers 无名的工人
Cast Series 铸造系列 2018
Steel 钢
96 Busts, various dimensions, site specific
96个半身像，尺寸可变，视场地而定
Arnd Christian Mueller is a German interior architect and artist working and living in Beijing. This exhibition presents two representative series of Arnd as an artist: Malleus and Cast, both related to Arnd's attention to migrant workers in China. If the architect's experience makes him directly involved in the process of China's urbanization, experiencing the drastic changes of China's society and economy over the past two decades, then the role of artist, in a sense, allows him to look at things from a distance, with critical and reflective eyes.
Works of Malleus are made of hammers that Arnd collected from construction sites, car repair shops or recycling stations around China. Each hammer is unique as they are made by workers on the spot, using whatever material is available. In Arnd’s view, these hammers of different sizes, shapes and weights represent a kind of local wisdom that adapts to the limited conditions, a kind of rough, but flexible and effective way to solve problems.
The hammers collected have become the basic vocabulary of Arnd's creation. They carry the original cultural and social codes, carry memories and emotions into the works, generate new meanings under the rearrangement of the artists and form overlapping multiple texts. In the Great Wall these hammers are sealed in transparent resin bricks, with a monument-like serenity. Their fragmentary state makes their meaning ambiguous. They remind us of the Great Wall, the ruins in demolition, and they may also be new buildings under construction. In his new work Kites, which is specially commissioned for this exhibition, these hammers take a more poetic expression. They are magically suspended in custom-made cabinets, as if time stood still. Arnd uses the most impossible materials to simulate the kite, the ancient but still popular toy in today's China. Bondage and freedom, movement and stillness, heavy body and light soul, present a contradictory and yet a fascinating metaphor.
If there is an unknown but vivid life behind each hammer, the Anonymous Workers of the Cast series try to make these hidden workers more visible. They were made with workers from a small foundry in northern China. Arnd dug shallow human-shaped pits of different sizes in the sand, and then poured molten steel directly into the pits to create these sculptures. The materials used for casting came from scrap iron, car wheels, nails, motorcycle parts and so on. Such a crude casting method has surprisingly created a group of powerful works. These busts are placed directly on the ground, like crops growing out of the soil. They are silent and rough, but they have a heartfelt power.
Curator: Tang Zehui, Beijing, September, 2020
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