Via Lewandowsky维亚•莱万多夫斯

Original Dudu Du Laboratory 2022-10-20

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Via Lewandowsky (*1963 in Dresden) 是居住在柏林的当代艺术家。1982年至1987年就读于德累斯顿美术大学。1985年至1989年与前卫团体“Auto-Perforations-Artisten”组织颠覆性表演，颠覆了东德官方艺术界。

他的多媒体实践专注于具有建筑影响的雕塑装置作品和展览场景。他的主题始终是由于沟通失败而导致的误解，以及过程性。日常生活的讽刺折射，外来者侵入熟悉的，主要是国内的领域，经常发生在使用德国资产阶级的标志（例如布谷鸟钟或鹦鹉）的情况下。他对悲剧喜剧、荒谬和自相矛盾的偏爱以及不断重复和徒劳无功的西西弗斯主题将他的艺术与达达主义、超现实主义和激浪派联系起来。

Via Lewandowsky (*1963 in Dresden) is a contemporary artist based in Berlin. He studied at the Dresden University of Fine Arts from 1982 to 1987. Between 1985 and 1989 he organized subversive performances with the avant-garde group “Auto-Perforations-Artisten”, which subverted the official art scene of the GDR.

His multimedia practice focuses on sculptural-installational works and exhibition scenographies with architectural influences. His leitmotifs are always the misunderstanding as a result of failure of communication, as well as the processual. An ironic refraction of the everyday, the intrusion of the foreign into the familiar, mostly domestic, realm, often happens by using insignia of the German bourgeoisie (e.g. a cuckoo clock, or a budgie). His predilection for the tragic-comical, the absurd and paradoxical, as well as the Sisyphean motif of the constant repetition and futility of action connect his art with Dadaism, Surrealism and Fluxus.

kleinervonwiese kak aлb2009/2022(Wie schade)/Schriftzug

From Oil to Gas2012,gas stove painting

end of song 2016,
Curved acoustic guitar, electromagnet control "When The Song Is Sung 2016..

Via Lewandowsky “Good God”, (Multiple) 2019,

"Securing" 32 megaphones, 32-channel amplifier, 2017.

Andalusischer Hund [Andalusian Dog], 2019. Retractable leash, gnawed, framed, 24,5, x 33 cm.

via.lewandowsky “What goes up must come down (Absprung Ost)”, 1995.… still the same

via.lewandowsky "What goes up must come down (Absprung Ost)" 1995... still the same

In guten Händen (In Good Hands), 2021. Glass, lacquered, 45 x 30 x 50 cm. Photo: Thomas Bruns

La-la-latenz.2021

The Mammon just arrived(Warum können wir ohne Hilfe keine Laterne aufstellen?),2021,in collaboration with rmtzr

La-la-latenz2022

Stochern im Nebel2020 Glashaube verspiegelt und mattiertStahlhaken verrostet

Cleaning his C flute was everything to him", 2019, C flute sawed off, flute cleaner 40 x 40 x 30

From Oil to Gas2010,gas stove painting

Alles, wasder Full ist. 2015

Im Spitzenschritt 2015, Armeestiefel,Ballettschuhe

"Divergenz des Selben"(2012) and "Vorhang auf"(2021)

The Color from the Cosmos(Die Farbe aus dem Universum),2007Snowscape

Form und Zweck [Form and Purpose], 2021. Sand, synthetic resin, black box, red velvet pillow, golden glytter. 6,3 x 12,2 x 12,6 cm, Edition of 598.

Das Beste für Vati (The Best for Dad), 1994. Stove, adhesive tape, plastic bag, stiffened towel.

Kniende Madonna mit Kind [Madonna Kneeling With Child], 2021. Parquet floor from a late 19th century villa in Hamburg.

Jenseits equilibristischer Praxis (Beyond Equilibristic Practice), 2000. Wooden construction, fitted carpet, broken chinaware.

Zur Lage des Hauptes (On the position of the Head), 1990. Berliner Siegessäule (Victory Column) coverd with styrophoam.

Welt der Fliege: Fliege vögelt Schmetterling (Fly’s World: Fornication on the fly), 2000. Fly, butterfly, steel column, glass dome.

Hysterie oder Kampf mit dem Double (Hysteria or Trouble with the Double), 1995. Five shower curtains, synthetic resin.

Kniende Madonna mit Kind [Madonna Kneeling With Child], 2021. Parquet floor from a late 19th century villa in Hamburg.

Vati hat den Faden verloren [Papa Fluffed his Lines], 2010. Copper pipe, 211 fittings, soldered.

Memory of a Future2007

"Halved Joy is Twice the Fun" halved budgerigar in a cage, 2002.

Klinkerklunker, 2021. Mixed media, 23 x 12 cm. Photo: Thomas Bruns.

Tischtennis-Matchball des Origami-Meisters im Lockdown2021

SOS,2021

And then that [Und dann das], 2021. Neon, wooden box, 35 x 30 x 130 cm.

via.lewandowsky The Song No One Understood2017, guitar broken, microphone stand,mp3 player

Brillianz der Auslassung, 2019, 40x20 cm, geschliffenes Glas

mounted mallard metalglass hood130x70x60 cm2013

BIO
Via Lewandowsky (born in Dresden in 1963), is a contemporary artist based in
Berlin. He studied at the Dresden University of Fine Arts from 1982 to 1987.
Between 1985 and 1989 he organized subversive performances with the avant-
garde group “Auto-Perforations-Artisten”, which subverted the official art scene of the
GDR. His multimedia practice focuses on sculptural-installational works and
exhibition scenographies with architectural influences. His leitmotifs are always the
misunderstanding as a result of failure of communication, as well as the processual.
An ironic refraction of the everyday, the intrusion of the foreign into the familiar,
mostly domestic, realm, often happens by using insignia of the German bourgeoisie
(e.g. a cuckoo clock, or a budgie). His predilection for the tragic-comical, the absurd
and paradoxical, as well as the Sisyphean motif of the constant repetition and futility
of action connect his art with Dadaism, Surrealism and Fluxus. Via Lewandowsky’s
works have been shown worldwide in solo and group exhibitions, most recently at
the Jewish Museum, Berlin (2020), Künstlerhaus Bethanien, Berlin (2019), Bongsan
Cultural Center in South Korea (2019), Shedhalle, Zurich (2018), David Nolan
Gallery, New York (2017), Museum of Fine Arts Leipzig (2016) or Kunsthalle zu Kiel
(2015).