• Taipei Dangdai 2019 | Booth D07
    January 18, 2019 - January 20, 2019
    Taipei Nangang Exhibition Center, Hall 1 (4th Floor)
    No. 1, Jingmao 2nd Road, Nangang District, Taipei City

    We look forward to welcoming you to Galerie Thaddaeus Ropac’s booth at the inaugural edition of Taipei Dangdai, Taiwan’s first international art fair. Highlights will include important historical works from the 1980s by Georg Baselitz, Gilbert & George, Robert Mapplethorpe and Andy Warhol, as well as new works by Lee Bul, Robert Longo and Yan Pei-Ming. The gallery will also be offering significant works by Ali Banisadr, Tony Cragg, Jules de Balincourt, Adrian Ghenie, Antony Gormley, Alex Katz, Anselm Kiefer, Daniel Richter and Erwin Wurm, among others.

    我們期待在第一屆台北當代藝術博覽會的 Galerie Thaddaeus Ropac 展位中歡迎您。本次博覧會也是台灣有史以來的第一次世界藝術博覧會。本次藝術博覽會將展出包括格奧爾格·巴澤利茨 (Georg Baselitz)、吉爾伯特和喬治 (Gilbert & George)、羅伯特·梅普爾索普 (Robert Mapplethorpe) 和安迪·沃霍爾 (Andy Warhol) 的八十年代重要歷史性作品,以及李昢 ( Lee Bul)、羅伯特·隆戈 (Robert Longo) 和嚴培明的最新作品。本藝術畫廊也會展出阿里·巴尼薩德爾 (Ali Banisadr)、托尼·克拉格 (Tony Cragg)、吉爾·德·貝蘭庫爾 (Jules de Balincourt)、阿德里安·吉尼 (Adrian Ghenie)、安東尼·戈姆利 (Antony Gormley)、亞歷克斯·卡茨 (Alex Katz)、安塞爾姆·基弗 (Anselm Kiefer)、丹尼爾·里希特 (Daniel Richter) 和爾溫‧烏爾文 (Erwin Wurm) 等人的重要作品。

    In contrast to his crowded cityscapes from the preceding decade, German artist Daniel Richter’s Monday Morning (2012) features a lone green figure teetering dangerously on the edge of a mountain precipice. Richter’s works from this period employ a linear vocabulary, used here to define the contours of the mountains, and a hallucinogenic colour palette. With its solitary traveller and emphasis on the sublimity of nature, Monday Morning reveals the influence of German Romanticism.

    德國藝術家丹尼爾里希特 (Daniel Richter)的「星期一早上(2012年)」描繪著一個孤獨的綠色人物站在山崖邊緣的險象環生搖晃景象,這與其十年前的擁擠城市景觀作品形成鮮明的對比。里希特在這一時期的作品採用線性詞彙來定義山脈的輪廓,以及充滿幻覺的色彩。「星期一早上」以孤獨的旅行者來強調崇高而雄偉的大自然,揭示了該作品深受德國浪漫主義的影響。

    In Suzanne (2018), Chinese painter Yan Pei-Ming depicts a female figure, stripped to the waist, but wearing the black stockings and white cap that suggest a housemaid’s uniform. The title references the Biblical tale of Susanna, who was secretly observed by the Elders while bathing, and became a frequent Old Master subject. In Yan Pei-Ming’s retelling, the female nude is rendered in gestural strokes and drips of paint, with the viewer cast in the role of voyeur. Yan Pei-Ming’s paintings will be shown alongside those of Gustave Courbet at the Musée Courbet, Ornans, from 10 June – 20 September 2019.

    中國畫家嚴培明「蘇珊 (2018)」描繪的是一個女性形象,她的衣服脫至腰間,並穿著黑色絲襪和白色帽子,暗示所穿的是一套女傭制服。這個標題所引用的是聖經中蘇珊在洗澡時被長老秘密窺視的故事,而這個故事已成為古老大師經常採用的主題。嚴培明在複述這個故事時,女性的裸體以描畫姿勢的筆觸和油漆滴落的方式來呈現,讓觀眾扮演著偷窺者的角色。嚴培明的畫作將於 2019 年 6 月 10 日至 9 月 20 日在 Ornans 的 Musée Courbet 畫廊與古斯塔夫庫爾貝 (Gustave Courbet)的作品一起展出。

    Lee Bul’s Untitled Yet (2018) forms part of her recent series of velvet and silk paintings, in which the Korean artist creates ethereal abstract forms using organic materials including flower petals and strands of her own hair. Strongly linked to natural forms and the human body, Bul’s painting treads a fine line between beauty and abjection. Related works were included in Bul’s recent retrospective at the Hayward Gallery, London and Martin-Gropius-Bau, Berlin.

    韓國藝術家李昢 (Lee Bul)「無題(Mekamelencolia - Velvet)」(2018年)是她最近的絲印畫系列的一部分,作品中使用有機材料創造出空靈的抽象感覺,包括花瓣、珍珠母和她自己的頭髮。李昢的繪畫與自然形態和人體緊密相連,在美與賤斥 (abjection) 之間劃出了一條細線。該系列的相關作品被收錄在李昢最近在倫敦海沃德畫廊和柏林 Martin-Gropius-Bau 畫廊的回顧展中。

    Der Bote [The Messenger] (1982) epitomises German artist Georg Baselitz’s turn towards religious iconography in the 1980s, representing traditional Biblical scenes in a radically new way. The title suggests associations with the Annunciation, when the angel Gabriel appeared before the startled Virgin Mary to tell her she would bear the son of God. In this work, Baselitz’s uniquely iconoclastic blend of abstraction and figuration results in a deeply ambiguous scene, with the monumental, brightly-coloured figure appearing in relief against an indeterminate dark background. Baselitz was the subject of a major retrospective at the Fondation Beyeler, Riehen and Hirschhorn Museum, Washington, D.C., to coincide with his 80th birthday last year.

    信差 (Der Bote [The Messenger])(1982 年)展示了德國藝術家格奧爾格·巴澤利茨 (Georg Baselitz) 在上世紀八十年代轉向宗教圖像誌,他以一種激進的全新方式來代表傳統的聖經場景。這個標題是指天使報喜,即當天使加百列出現在驚嚇的聖母瑪利亞面前,告訴她將懷有上帝的兒子。在這作品中,巴澤利茨將抽象和形象以其獨特的反偶像崇拜方式融合起來,營造了一個非常模糊的場景,而巨大、色彩鮮豔的人物則在模糊的黑暗背景下浮現出來。巴澤利茨是去年華盛頓特區基耶勒基金會,里恩和赫希霍恩博物館的一次重大回顧展的主題,而這年他也剛好 80 歲。

    Gilbert & George’s historic Food from The Believing World Series (1983) exemplifies the London-based duo’s newfound use of models other than themselves in their work and their attempt to counter negative stereotypes about male adolescents as hoodlums. In this 15-part photomontage, the upright figures of the artists in their characteristic suits are surrounded by three disembodied heads, their mouths agape as if singing or shouting. Gilbert & George were among the first Western artists to have major success in Asia, through their touring China Exhibition in 1993, extending the global reach of their “Art for All” ethos. Their work is the subject of the retrospective Gilbert & George: The Great Exhibition (1971-2016), currently on view at LUMA, Arles, and travelling to Moderna Museet, Stockholm; Astrup Fearnley Museum, Oslo and the Reykjavik Art Museum.

     吉爾伯特和喬治 (Gilbert & George)「歷史性食物」來自他們的「幻想世界系列」(1983),對於這個總部位於倫敦的二人組合,該作品是展現他們在其作品中使用自己以外的其他新模特兒的一個例子,以及他們試圖對男性青少年作為流氓的負面刻板印象作出反抗。在這個由 15 個部分組成的蒙太奇照片作品中,藝術家們穿著他們的特色西裝直立著身形,而圍繞著他們的是三個沒有身軀並張大著嘴巴像是在唱歌或大喊大叫的頭部。吉爾伯特和喬治 (Gilbert & George) 是最早在亞洲取得重大成功的西方藝術家之一,他們在 1993 年的中國巡迴展覽中,擴大了他們的「全人類共享的藝術」精神的全球影響力。他們的作品主題是吉爾伯特和喬治 (Gilbert & George) 之回顧 :The Great Exhibition(1971-2016,該批作品目前正在阿爾勒的當代藝術館展覧,並將會前往斯德哥爾摩的當代美術館;挪威的阿斯楚普費恩利現代藝術博物館,奧斯陸和雷克雅未克藝術博物館展出。

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