R·H·奎特曼的第34章：希尔玛·阿夫·克林特
R·H·奎特曼 R.H.Quaytman
+X, 第34章
+ x, Chapter 34
所罗门·R·古根海姆博物馆 | 纽约
Solomon R. Guggenheim Museum, New York
展期：2018.10.12 – 2019.02.03
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
当代艺术家R·H·奎特曼的绘画采用各种图像和观念策略——从文学意象到逻辑线索，从具象到抽象，从视觉现象到物理实体等。其创作的广泛性让艺术家得以探索包括主题、语境以及创作方式在内诸多影响绘画意义生成的因素。在探索媒介潜力的过程中，奎特曼不断地以其他艺术家及作品为主题开始创作，这一实践反思了艺术作品在与其他作品的关系中被艺术家和观众解读的过程。
▲ 《+X（三角函数），第34章》+ × (Trigonometry), Chapter 34, 2018, 油彩、拼贴、水粉颜料、石墨铅笔、石膏丙烯底涂料、木板 Oil, paper collage, gouache, graphite pencil and gesso on wood; 31.4 x 31.4 cm.
本次展览中，R·H·奎特曼呈现了一组名为《+ ×, 第34章》的新绘画作品，并将之与“希尔玛·阿夫·克林特：未来绘画”展览同期展出——这是自1989年纽约现代艺术博物馆P.S.1当代艺术中心克林特作品展以来，其作品首次在美国再度亮相。“第34章”展览延续了艺术家长期以来对影响绘画意义生成的因素——包括其主题、制作过程、以及其所处现实和社会语境——的探索。为了呼应古根海姆博物馆创始人对精神性抽象作品的支持，奎特曼的新作品以希尔玛·阿夫·克林特具有革新意义的“蓝皮书”作品为基础，从而重新考量这位抽象画家与精神性抽象绘画运动之间的关系。
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
阿夫·克林特于其艺术生涯晚期创作了十本独特的“蓝皮书”笔记，其中包括许多画作的黑白照片和精致的水彩复制品。书籍格式具有固定的页码序号，使艺术家能够明确其作品的顺序结构，其中每一件绘画都与前一幅直接相关。阿夫·克林特在这些书中重新创造其早期的图像，同时也进一步阐明其清晰的象征性。为了研究阿夫·克林特的绘画中的分析性，奎特曼特别聚焦于“蓝皮书IX”，这其中包含了这位瑞典艺术家的“SUW/UW”系列（1914–15）。通过在大小一致的木板上使用丝网印刷和手工绘制图像，奎特曼把阿夫·克林特富有突破性的形式策略提炼出来，并对其系统化的图像进行重新组合，从而阐明阿夫·克林特与艺术传统的彻底分歧，和她融合科学发现及视觉风格——特别是表格——的独特创作方法。此外，奎特曼还通过对性别、风景绘画、暴力和身体的参照，进一步阐释了阿夫·克林特作品中其他被忽视的方面。
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
此次展览是奎特曼在纽约举办的首次美术馆个展，占据了美术馆圆形空间的整个顶层坡道。由奎特曼设计的展览形式将这些主题精妙地置于古根海姆博物馆独特的建筑中。每一个独立展览空间都以一张表现章节中心主题的绘画为核心：即中间为白色圆环的深蓝色方块绘画。这些作品沿水平线悬挂，与博物馆坡道的上坡走向形成反差。
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
奎特曼的新章节标题令人联想到阿夫·克林特的思考中逻辑和经验主义的中心地位。“+ ×”符号通常出现于阿夫·克林特众多笔记本（包括“蓝皮书”在内）的第一页，。尽管她认为这些符号不仅只是算术符号，但它们仍与数学用法密不可分。奎特曼将这种理性主义视为直觉的对立面，与直觉同等重要；后者通常与精神性紧密相关与阿夫·克林特的精神新抽象作品及艺术遗产有关。
▲ 《+X，第34章》+ ×, Chapter 34, 2018, 丝网印刷颜料、油彩、石膏丙烯底涂料、木板 Silkscreen ink, oil and gesso on wood; 50.8 x 50.8 cm.
The paintings of contemporary artist R. H. Quaytman employ a variety of pictorial and conceptual strategies, ranging from the literary to the logical, from the representational to the abstract, and from the optical to the physical. This sweeping scope has allowed Quaytman to explore many of the factors that enable a painting to generate meaning, whether they be its content, context, or mode of production. In the course of considering the medium’s potential, Quaytman has repeatedly used other artists or their work as subject matter, a practice that reflects on how any work of art is necessarily understood, by artist and viewer, in relation to other artworks.
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
For this exhibition, Quaytman presents a new group of paintings, titled + ×, Chapter 34, which are shown in conjunction with Hilma af Klint: Paintings for the Future, the first exhibition devoted to Hilma af Klint in the United States since Quaytman organized a survey of her work at New York’s P.S.1 Contemporary Art Center in 1989. This “chapter,” as Quaytman’s focused groups of paintings are called, continues the artist’s ongoing investigation of the factors that enable a painting to generate meaning—including its content, its production, and the physical and social context of its presentation. Considering the dedication of the Guggenheim’s founders to spiritually oriented abstraction, these new works offer a reconsideration of the relationship between af Klint and that movement by using the innovative abstract painter’s Blue Books as source material.
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
Made by af Klint during a late phase of her artistic practice, these ten unique books feature black-and-white photographs of many of her paintings alongside delicately executed watercolor reproductions. The book format, with its fixed series of pages, enabled the artist to make explicit the sequential structure of her work, in which each painting relates directly to the last. As af Klint re-created her earlier compositions in these books, she was also able to draw further attention to her methodical symbolism. In order to examine the analytic qualities of af Klint’s paintings, Quaytman has focused on Blue Book IX, which features the Swedish artist’s SUW/UW Series (1914–15). Working with screenprinted and hand-painted imagery on consistently sized wood panels, Quaytman has distilled af Klint’s groundbreaking formal strategies and reconfigured her systematized imagery, thereby illuminating the ties between af Klint’s radical divergence from artistic conventions and her incorporation of scientific discoveries and visual styles, most notably the diagram. Quaytman simultaneously elaborates upon other underrecognized aspects of af Klint’s work through references to gender, landscape painting, violence, and the body.
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
Quaytman’s exhibition—the artist’s first solo museum exhibition in New York—occupies the top ramp of the rotunda. The installation that Quaytman has devised situates these themes within the Guggenheim’s distinctive architecture. Each bay is anchored by a painting featuring the chapter’s central motif, a deep indigo square punctuated by a white circle. These works are hung along a horizontal line, in contrast to the rising slope of the museum’s ramp.
▲ 《+X，第34章》+ ×, Chapter 34, 2018, 油彩、蛇皮、石膏丙烯底涂料、木板 Oil, acrylic, snakeskin and gesso on wood; 50.8 x 50.8 cm.
The title of Quaytman’s new chapter evokes the centrality of logic and empiricism in af Klint’s thinking. The characters + × regularly appear on the first page of af Klint’s numerous notebooks, including the Blue Books. Though she viewed these symbols as more than arithmetical notations, they remain inseparable from their mathematical use. Quaytman sees this rationalism as an important counter to the intuitive qualities that are frequently associated with the spiritual—and, by extension, af Klint’s work and legacy.
▲ “+X, 第34章”展览现场，纽约所罗门·R·古根海姆博物馆, 2018.10.12 – 2019.02.03 / Installation view of + x, Chapter 34, Solomon R. Guggenheim Museum, New York, 2018.10.12 – 2019.02.03
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