『欧美艺术家展览系列』 Brice Marden 布赖斯·马登- Inner Space （内空间）

『欧美艺术家展览系列』，是Du/laboratory以主题性策划发布的一个推送。我们将分享艺术家的艺术实践和展览。Du/laboratory后续也会发布不同主题性推荐。

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时间：    14.05.-28.08.2022 

策展人：约瑟夫·赫尔芬斯坦博士

地址：    巴塞尔美术馆

NEUBAU / 14.05.–28.08.2022 / 

Curator:  Dr Josef Helfenstein 

Kunstmuseum Basel

Inner Space

为了追溯 Brice Marden 的艺术演变直至他最近的作品，展览内部空间收集了来自巴塞尔艺术博物馆和瑞士和国际贷款人的 104 幅纸上作品和八幅画作。

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布赖斯·马登（生于纽约布朗克斯维尔， 1938 年）是当代最著名的画家之一。在巴塞尔艺术博物馆| Neu bau 展出了这位美国艺术家从 1972 年到 2019 年的一百多件作品。这次展览包括了艺术家自己收藏的纸上作品和绘画作品，其中一些作品从未公开展出过。

马登出现在 20 世纪 60 年代的单色绘画和图纸通知强烈的情感。他的艺术融合了现代主义绘画传统的两个基本立场：一方面是抽象表现主义的姿态特征；另一方面是对本质的还原，使他的工作至少在外观上与极简主义相似。在内部空间中，因此，博物馆展示了一系列与 1960 年巴塞尔艺术博物馆（巴塞尔市公共艺术收藏馆）之后的与美国艺术焦点有关的作品。

Brice Marden (b. Bronxville, NY, 1938) is one of the most celebrated painters of our time. The exhibition Inner Space at the Kunstmuseum Basel | Neubau features more than one hundred works by the American artist from between 1972 and 2019. The presentation includes works on paper and paintings from the artist’s own collection, some of which have never been on public display.

Marden emerged in the 1960s with monochrome paintings and drawings informed by strong emotions. His art melds two fundamental positions in the modernist painterly tradition: on one hand, a gestural quality characteristic of Abstract Expressionism; and on the other a reduction to the essential, which lends his work at least an outward resemblance to Minimalism. In Inner Space, the museum thus showcases a body of work that relates to the foci of American art after 1960 of the Öffentliche Kunstsammlung Basel, the public art collection of the City of Basel.

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Marden 在 1970 年代创作的单色面板在几年后演变为在双联画和可被解读为风景和建筑的大幅面多部分图片中与表面和颜色的复杂互动。 他的绘画和图形实践以对线条、书法的兴趣以及对简单手段和材料的限制。

他很早就表示，他的绘画—— 一种通常被认为在媒体等级中排名低于绘画的媒介—— 本身就值得欣赏。在 1979 年的一份声明中，马登要求观者将他的绘画视为“空间”，强调他相信绘画是一种媒介，不仅存在于两个以上的维度，而且能够反映一个特定地方的精神和经验。

通过展示图形系列和绘画并排，内部空间阐明了马登的工作方法。它的出发点是他职业生涯中的一个阶段，起源于巴塞尔：艺术家在 1978 年开始的七年里仔细研究了这个城市及其文化，当时他参加了巴塞尔大教堂后殿的新窗户设计竞赛。他的计划最终未能实现。此次展览包括巴塞尔艺术博物馆收藏的项目研究，以及一些相关的窗口绘画，难得有机会看到这些作品。

The monochrome panels that Marden created into the 1970s evolved a few years later into complex engagements with surface and color in diptychs and large-format multipart pictures that may be read as landscapes and architectures. His painterly and graphic practices are guided by an interest in lines, gestures, and the limitation to simple means and materials.

He also indicated early on that his drawings—a medium that is often seen as ranking below painting in the hierarchy of media—warrant appreciation in their own right. In a 1979 statement, Marden asked beholders to think of his drawings “as spaces,” emphasizing his belief that drawing is a medium that not only exists in more than two dimensions but is capable of reflecting the spirit and experience of a particular place.

By presenting graphic series and paintings side by side, Inner Space illuminates Marden’s working methods. Its point of departure is a phase in his career whose origins lie in Basel: the artist made a close study of the city and its culture for seven years beginning in 1978, when he participated in a competition to design new windows for the apse of the Basel Cathedral. In the end his designs were unrealized. The exhibition includes selected studies for the project from the Kunstmuseum Basel’s collection as well as a number of related Window Paintings, a rare opportunity to see these works.

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Du/Laboratory is a comprehensive experimental platform, involving creative media spanning all levels of contemporary art, maintaining a vigilance against the international contemporary art trend that airs everywhere, and at the same time committing to the full and in-depth excavation of the artist's own system, continuously Focus on practices that hover in the "middle state" on the fringes of art and non-art.

Du/Laboratory是一个综合性的试验平台，涉及的创作媒介跨越当代艺术的各个层面，对四处空降的国际化当代艺术潮流保持一种警惕性，同时致力于艺术家自身系统的充分、深入挖掘，持续关注徘徊在艺术和非艺术边缘“中间状态”的实践。