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《门——趾于边缘》——马克斯·威勒克个展

(2008-01-11 17:24:46)
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马克斯·威勒克

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分类: 展览活动
《门——趾于边缘》——马克斯·威勒克个展

展览时间: 2007 年 12 月 16 日- 2008 年 1 月 31 日

开幕酒会: 2007 年 12 月 16 日 14:00

展厅地点:站台中国当代艺术机构草场地主展厅

《门——趾于边缘》——马克斯·威勒克个展

 

    马克斯·威勒克利用大量的电影图像进行创作,并且与电影的普遍存在有着密切的联系。他曾经看过大量的电影,并在喧闹的环境中对它们反复观看。有时候,仅仅是在重复欣赏所有这些电影之后,他会突然被之前没有注意到的细节所迷惑。这种看电影的方式改变了消费的产物,使文化产业成为一个审美和不限成员名额的计划。

《门——趾于边缘》——马克斯·威勒克个展

展览现场

 

    马克斯·威勒克特别长于采用恐怖题材。在包含犯罪和暴力的现场,情节建构的关键在于虚拟的大门、围墙、边界设置和警示标牌等;它们将危险区和安全区分开,表明“这里”和“那里”、外面和里面的区别。威勒克利用复杂的转换和选择程序将他的主题隔离和加工。首先,他从屏幕上截取剧照,将选区的细节描绘成小幅或中幅的水彩画。然后以某种方式认定这些图案组合产生一定价值,因此保留它们特有的表现形式,并将它们以不朽的布面绘画形式呈现。然而,严格意义上来说,其结果并非不朽:它们实际上是回归到道具的实际尺寸或略显夸张的比例。画中的门比现实生活中的门稍微大一些,围墙只略高于现实世界里的屏障。这些事物的颜色被增强,门把手、木栅栏上的节孔以及相似的细节被描绘得近乎讽刺的简单。

《门——趾于边缘》——马克斯·威勒克个展

门_木板门》-布面丙烯, 喷漆,记号笔,贴纸,230x120cm, 2005

 

    尽管水彩画通常是综合了微妙、小而精致的构图等特点,也常常以色调的逐步转换吸引观众的目光,在这里,技术的应用十分大胆和生动。然而马克斯·威勒克已经找到致力于水彩画的方式,那就是新任务、不断更新的相关性和惊人的力量。他的绘画过程也是同样令人惊叹的。首先他将稀释的颜料泼在水平面上,运用各种大的笔触,在仍然湿润的画布上创作,他刻意强调水彩画的效果,使一种颜色流入或渗入到另一种颜色中。因为这个过程需要被迅速完成,所以画面的结构必须在下笔之前构思好;颜料滴和溅是不可避免的,而这刚好是整体戏剧性效果的一部分。

在威勒克的作品中,电影的暗示是否能被认出,当然取决于每个参观者的知识水平。在上述大门、围墙、危险设置、警报标示等例子中,作为描述动机的形式,画的表面具有相同的比例和规模,那就是一个经典的案例——视觉幻象。作品悬挂的方式仅只是强调了视觉幻象的意识,考虑到安装和符合观众实际占用面积的情景上演效果:大门和围墙被画得几乎降到地面上,那些显示边界设置的十字交叉穿越对方。

《门——趾于边缘》——马克斯·威勒克个展

《门No.6 》布面丙烯,230x120cm, 2007

 

    通过选择,我们首先意识到电影作为意象原型的无处不在,威勒克自己创作的图像达到一个新的表现强度和幻象的自主性。

 

Markus Willeke works with numerous cinematic references pictures and in close relation to cinema’s omnipresence.He used to watch a large number of films and to see them many times in a row. Sometimes, only after all these repeated viewings, he will suddenly be struck by a detail he hadn’t previously noticed. Watching films in this way changes the consumption of a product of the culture industry into an aesthetic and open-ended project.

 

Markus Willeke is particularly taken by the horror genre. In scenes involving crime and violence, a crucial function in the structuring of the plot is assumed by doors, fences, demarcation tape, warning and emergency signs; they distinguish zones of danger from zones of safety, tell ‘here’ apart from ‘there’, the outside from the inside. Willeke isolates and processes his motifs in a complex procedure of transfer and selection. First of all, he photographs film stills from the screen, then paints small- or medium-format watercolours of chosen details. These motifs are then tested in a certain way for their compositional value so they retain their specific expressiveness once blown up onto monumental canvas formats. Strictly speaking, however, the results are not monumental: they are in fact reverted back to the real dimensions of the props or to their slightly exaggerated original proportions. The painted doors are a little larger than real-life doors, the painted fence just marginally higher than such barriers would be in the real world. Their colours are heightened, the doorknob, the knotholes in the wooden fence and similar details are rendered in almost caricatural simplicity.

 

Although watercolour is commonly associated with subtlety and with small, delicate formats, often mesmerizing the viewer’s gaze with gradual shifts of tonality, here the technique of its application is graphically bold and simple. Yet Markus Willeke has found a way of investing watercolour painting with a new task, up-to-date relevance and astounding power. His painting process is astounding too. First he floods the horizontal surface with very diluted paint using variously broad brushes, painting into the still wet paint, and deliberately working with the characteristic watercolour effect of letting one colour bleed or seep into the next. Since this needs to be done at speed, the picture’s composition has to be worked out in advance; drips and splashes cannot be avoided and are part of the overall dramatically illusionist effect.

 

It of course depends on the extent of each viewer’s knowledge whether the cinematic allusions in Willeke’s pictures can be spotted. In the aforementioned examples of doors, fences, hazard tape, warning and emergency signs, the painted surface has the same proportions and size as the form of the depicted motif, a classical case of trompe l’oeil. The way the paintings are hung only reinforces the sense of trompe l’oeil, taking account of the effects of the installation and the scenario staged within the real space occupied by the viewer: the door and fence paintings almost reach down to the floor, those showing demarcation tape criss-cross over each other.

 

By choosing first to acknowledge cinema’s omnipresence as a reservoir of prototypical imagery Willeke’s own painted images achieve a new intensity of expression and a new ‘illusionistic’ autonomy.

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