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“由表及里”恩里科·巴赫作品展

  • 展览海报
  • PEB114_Enrico Bach _FAHGR 恩里科·巴赫 140x115cm 2019年 Oil on canvas 布面油画
  • PEB116_Enrico Bach _FUSG 恩里科·巴赫 195x155cm 2019年 Oil, acrylic on canvas 布面油彩,丙烯
  • PEB117_Enrico Bach _RGS 恩里科·巴赫 280x210cm 2016年 Oil on canvas 布面油画
  • PEB126_Enrico Bach _LUFR 恩里科·巴赫 60x50cm 2019年 Oil on canvas 布面油画
  • PEB129_Enrico Bach _PSGE 恩里科·巴赫 280x210cm 2017年 Oil on canvas 布面油画
  • PEB132_Enrico Bach _RSW 恩里科·巴赫 280x370cm 2018年 Oil on canvas 布面油画
  • PEB130_Enrico Bach _PSR 恩里科·巴赫 240x190cm 2017年 Oil on canvas 布面油画
  • PEB133_Enrico Bach _UBR 恩里科·巴赫 240x190cm 2018年 Oil on canvas 布面油画
  • PEB134_Enrico Bach _UBS 恩里科·巴赫 240x190cm 2018年 Oil on canvas 布面油画
  • PEB135_Enrico Bach _ZSNR 恩里科·巴赫 200x300cm 2017年 Oil on canvas 布面油画
展览时间:
2019-11-14 - 2019-12-31
展览城市:
北京 - 北京
展览机构:
偏锋新艺术空间
展览地址:
北京市朝阳区酒仙桥路798艺术区2号院B-11

展览介绍

恩里科·巴赫的近作游离于两种绘画之间:一种是看似雕塑的绘画作品,另一种是自我满足式的绘画;延续了最初工业化图式中年轻艺术家的敏感锐气,又在层层深入的视觉结构中,与西方传统绘画图像精神自由对接。

巴赫的创作以西方艺术史名作为素材,可追溯到传统静物画、分析立体主义和合成立体主义、以及20世纪60年代源于包豪斯几何学的欧普艺术等。同时,他的部分作品还涉及现代艺术早期的色彩光影学说和巴洛克时期的荷兰绘画,部分作品则触及十七和十八世纪的错视静物画。它们并非可解读的画谜,也没有讲具体的故事,而是在个体层面上展现了被作为工具使用到的日用品,它们被用来建立秩序和结构,表现不断变革着的媒介和时代。视错觉不仅展现了艺术家的过人技法,同时也试图对当代性作出回应,提醒我们不要过于信赖自己的感知和认识,因为太容易被其迷惑和诱导,引入歧途。

从另一方面看,机器切割般简洁精致的边线,泛着工业烤漆光泽的高冷色彩,精美金属、绸布、薄纸般的冷酷质地……这些似是而非的日常意象,显然又不同于古典主义、印象主义、甚至表现主义绘画所营造的带有人性温暖的视觉印象,而是一种发达工业时代特有的“机械之美”,如此整洁、精美、雅致,有时甚至还隐透出淡淡的温情。恩里科·巴赫的绘画仿佛是在以祭坛画的恢弘、庄严,以抒情诗人的敏感、精雅,从容、执著地展示着种种发达工业时代的“日常之美”。

Enrico Bach's recent works are treading the fine line between a sculpturally plausible painting and painting that joyfully embraces its own self-sufficiency, which follow the sensitive spirit of a young artist from the initial industrial schema, and freely connect with the spirit of the traditional western painting images in the in-depth visual structure.

Bach's pictorial inventions draw on a number of achievements in the history of European art. They are heirs to the tradition of still life painting that sought to define art and its epistemology, to both analytical and synthetic Cubism as well as to the Op Art of the 1960s that grew out of Bauhaus geometry. At the same time some of Bach's works refer back to the colour–light dramaturgy of the early modern era and Dutch Baroque art, while others reference the trompe-l'oeil still life paintings of the seventeenth and eighteenth centuries. His works cannot be read as a rebus can, nor do they tell stories, but present details and sections of instruments to daily necessities, which can be used to produce order and structure, the media of an epoch that generates and manages data. Once upon a time trompe-l'oeil not only demonstrated the mastery of the artist as a worthy successor to Zeuxis, but also attempted to respond to the contemporary, telling us that we should not trust our senses and sensory impressions implicitly because they can be deceived and seduced, are easily thrown off balance.

On the other hand, the subtle-looking everyday images are different from the works of classicism, impressionism, and expressionism which present a defining humanistic touch in the various visual productions, such as the simple, delicate side-lines as if being cut by a machine, the cool colour tones resembling industrial paint, the texture looking as cold as metal, silk, thin paper. All of this indicates a refined, glamorous mechanical beauty that is unique to the age of industrial development, which is well-organized, sophisticated, elegant and somewhat suggests a touch of warmth as well. Enrico Bach’s paintings appear to calmly and serenely showcase the diverse beauty of everyday life in the age of industrial development in a grand, solemn way of an altarpiece or a sensitive, delicate manner of a poet.

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(责任编辑:陈思竹)

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