国际艺术沙龙丨艺术家分享会丨Timm Ulrichs丨Ursula Neugebauer

蒂姆·乌尔里希斯 Timm Ulrichs

1940 年生于德国柏林

1959-1966 年在德国汉诺威应用技术大学学习建筑学

1961年绝对艺术／无意义主义／即兴主义／宣传中心创始人；参与各类艺术活动，包括自身行为艺术“第一件活着的艺术作品”

1969 年构建以“预约谈话时间命名的艺术实践项目

1972-2005 年明斯特艺术学院教授居住在德国汉诺威、明斯特、柏林。

Timm Ulrichs 被认为是德国最具影响力的观念和行动艺术家之一。为了避免任何标志性的风格，他在包括雕塑、装置、表演艺术、视频、摄影、具体诗歌在内的一系列媒介中工作。1959 年，他创立了绝对艺术／无意义主义／即兴主义之宣传中心 Werbezentralefür Totalkunst, Banalismus und Extemporismus， 并开始扩展当时有限的艺术概念。他以现成品理念为基础，尤其是以库尔特·施威

特斯 Kurt Schwitters 的作品 莫斯坤斯特 Merzkunst 为基础，展开了具有历史意义的前卫艺术项目: 将艺术与生活链接。他从20世纪60 年代开始诠释杜尚观念艺术的概念，使自己的生命、日常生活、身体成为艺术的主体和客体。从那时起，Ulrichs 称自己为完全的艺术家，从那时起，他一直致力于跨学科的，异质的作品。作为第一件 有生命的艺术作品 关于Ulrichs 的Ulrichs，他展示了自己，测量了自己的身体，把自己作为一个有生命的避雷针，暴露在生与死的现实中。他实践一种艺术游戏的方式，把现实与虚构联系在一起，他给眼睑纹身终结 The End 这一词语的作品就是其中一款艺术游戏。他创造了一种具有微妙讽刺意味的身体艺术，有意使自己远离通常被称为身体艺术的冲击效果。他的语言游戏、无谓的同义反复、和行动都在直面什么是艺术和什么样的艺术仍然可以是艺术史之中的艺术这样的问题。

1940 Born in Berlin, Germany

1959 – 1966 Architecture, Technische Hochschule, Hannover, Germany

1961 Foundation of "Werbezentrale für Totalkunst & Banalismus"various activities

including self-display as "first living work of art", in 1969 also establishment of an

art practice with "consultation-hours by appointment"

1972 – 2005 Professor at Kunstakademie Münster, Germany. Lives in Berlin and

Hannover, Germany.

Timm is considered one of Germany’s most influential conceptual and performance artists. In order to avoid well-known styles,he has worked in a range of media, including sculpture, installation, performance, video, photography, and poetry. In 1959, he established the Werbezentrale für Totalkunst, Banalismus und Extemporismus (Central Advertising Agency for Total Art, Banalism,and Extemporism) to expand the limited concept of art at the time. With ready-mades, particularlyKurtSchwitters’work Merzkunst, asa foundation, he developed a project of the historic avant-garde: linking art and life. Since the 1960s, he has interpreted (Duchamp’s) ideas of conceptual art, turning the artist’s own life, everyday life, and the body into the subjects and objects of art. Since that time,Ulrichs has called himself “a total artist,” and he has devoted himself to interdisciplinary, unusual works.

In his first living work of art (Ulrichs About Ulrichs), he shows himself and measures his body, turning himself into a living lightning rod revealing the realities of life and death. He engages in artistic games that link reality and fiction; the words “The End” tattooed on his eyelids represent one such game. He creates subtly ironic body art, consciously distancing himself from the shock tactics usually associated with the medium. His linguistic games, pointless tautologies, and actions confront questions such as “What is art?” and“What kind of art can still be art historical?”

乌苏拉·纽格鲍尔 Ursula Neugebauer

乌苏拉·纽格鲍尔 Ursula Neugebauer 曾在德国明斯特艺术学院学习艺术。在那里她获得了提姆·乌里希Timm Ulrichs 授予的文学硕士学位。她曾短期担任学校艺术教师并在明斯特医科大学担任艺术愈疗师。

1999 年至2002 年间，她在柏林工业大学建筑系任讲师。自2003 年至今她在柏林艺术大学自由艺术系担任教授一职。

柏林艺术大学教授著名艺术家乌苏拉·纽格鲍尔觉得艺术有必要在政治上、社会上和道德上负责任吗? 还是只有美才能证明一件艺术品的价值？她创作了遗产Nachlass, Legacy 这一作品: 以死者公寓为特色的照片。死者的出现是基于他或她的缺席; 也就是说，可见的公寓内部使人联想并重构死者的生活。为了给这些场景拍照，还必须进入公寓。被恐惧、惭愧、恐惧和悲伤的混杂心情所深深触动了: 走进一间空房间，问自己，这些不再有人居住的公寓里还存有什么。处理的另一个重要主题是，通过以宗教动机出发的头罩来抑制或消除身体的活力和它的表达。除此之外，她还拍了一部电影: 关于三个隐藏自身头发的女人， 一个是正统的犹太人，一个是穆斯林学生，一个是基督教修女，通过毛发的概念把这三名女性联系起来，并在私人和公共领域的背景下阐明了宗教、女性、身体和空间的角色。一个人的身体作为身份的表达，其人格完整性以一种微妙的方式被探究，尤其是，当覆盖某人的头发被当做她对身体不舒适的直接表达之时，或覆盖在头发上的布似乎是一种没有生命甚至是死亡的隐喻时，就更是如此。

Ursula Neugebauer studied Fine Arts at the Art Academy Münster, DE where she was appointed by Timm Ulrichs as protégée and literature master student. She has taught briefly as a school teacher and also worked as an art therapist at the Universitätklinikum, Münster, DE. Between 1999 to 2002 she was a lecturer at the

Department of Architecture at the Technical University, Berlin and since 2003 she has held the title as Professor, Institute of Art at Universität der Künste Berlin, DE.

Universität der Künste Berlin professor and noted artist Ursula Neugebauer asks, “Must art bear a political, social, and ethical responsibility? Or is beauty the only thing that proves the value of a work of art?” In Nachlass (Legacy), she takes unique

photographs of the apartments of people who have died. The presence of the deceased is rooted in his or her absence, which is also to say that, the interiors of these apartments make the viewer think of and reconstruct the life of the person who died. In order to photograph these apartments, Neugebauer had to enter them. She was deeply touched by a mixture of fear, shame, and sadness when she walked into the empty room and had to ask herself what else was present in an apartment in which no one lives. In treating another important topic, Neugebauer interrogates religious hair coverings as the restraint or elimination of physical vitality and its expression. This work is a film about three women who cover their hair—an orthodox Jewish woman, a Muslim student, and a Christian nun. The concept of hair links these three women, and connects to the roles of religion, women, the body, and space in the private and public realms. A person’s body as an expression of identity and integrity is explored in a subtle way, particularly when their feelings about their hair are articulated as discomfort, or when the cloth on their hair seems to be a metaphor for a “life unlived, or even death.”

Sponsor

主办机构

Chengdu tianfu new district huayang sub-district

成都天府新区华阳街道办事处 

Tuff Contemporary Art Meseum

成都大浦当代艺术馆

Academic chair   Liu Guangyun

学术主持 刘广云

Lecture time

讲座时间

May 1, 2019, 15:00 PM

2019年05月01日下午15:00

Activity location

活动地点

QuYuan Chengdu Tianfu new district Huayang cultural center 

成都天府新区华阳文化馆 趣园

Chengdu Tianfu new district Huayang street Angong road

成都天府新区华阳街道安公路三段

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