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“漂浮的森林”艺术家访谈

(2010-10-09 13:00:46)
标签:

艺术联展

漂浮的森林

杂谈

分类: 大石.馆艺术展览展讯

丽奥.洪访谈                            INTERVIEW with Leonie  Hunn

 

V:王辉                                  V: Victor Wong

L:  丽奥.                            L: Leonie  Hunn

 

 

 

V这是您第一次在中国举办画展, 我们很高兴这个画展能在大石馆举行。首先您能谈谈您的艺术理念吗?

L是的,因为这是我在中国的第一次画展,所以我很激动。感谢大石馆给我这个机会和热情的款待。

我的艺术创作的风格和题材经常变换。我喜欢尝试不同的媒介和载体。 因为我觉得自己和自然山川有一种密切的联系。我总是喜欢在我的作品中融入这些元素,例如在木板上作画或雕刻, 或者使用木炭,沙子等材料来创作...

V您在求学期间, 主要的创作集中在肖像画上,然后作品的主题转到城市风光及自然风景,最近的风格又渐渐趋于抽象,您能解释一下整个过程是怎样转变的吗?

L:是这样的,每个艺术家都有经过不同的阶段,不是吗?在高中的时候, 我的艺术创作的题材和媒介很广泛开放。大学的时候, 我学的是插画专业, 刚开始我们可以尝试不同的风格和材料。但后来老师要求我们选择并坚持一种风格。这就导致我将大多数的精力放在水彩肖像画上。我总是喜欢观察城市里各种各样的人,我可以在一个繁忙路段坐上几个小时,或者到处逛逛,观看人生百态。过去我经常随机拍下一些路人的照片,然后我可以根据照片来画他们的肖像。我觉得人类是很有意思的, 特别是他们的脸:容貌,表情,眼神以及皮肤等等。

后来我搬到瑞士的一个很小的滑雪胜地威拉尔--罗伦,这里不象在大城市里有那么多令人兴奋的事情发生。你看到的是村里那些熟悉的面孔,没有街头表演者,也没有街头艺术。这些多少减弱了我的创作灵感,我想在我的艺术中寻求改变。但我不想只单单画些山脉之类的题材,因为这些就在窗外。后来我终于在“山川对城市风光”系列中找到灵感。我认为这是个很好的平衡,同时也表现了我的生活和情感,还有困惑:那就是我的家在哪里?我想要到哪里去?是城市还是山区?

曾经有很长一段时间,我的艺术创作试图趋于抽象。 但因为我学的是插画专业,总觉得在我的绘画中需要有一些具象因素,这样对我来说可能更完整,所以我也不想去刻意抽象。在几个月前的某一天, 我决定再次尝试抽象艺术,当时我情绪激动,就决定将它释放出来。这也是我第一次创作时不去考虑题材和构图。这种感觉太好了,让我觉得自己更是一个画家,而不是个插图作者。我对这些最新的作品很满意,并打算朝这个方向再继续探索下去。

V您对大石馆的印象如何?是什么吸引您来大石馆展示您的艺术作品的?

L大石馆的空间既宽敞又开放,同时又显得有些暗淡。参观者可以对此空间有不同的感觉,因为它留有很多想象和情感的空间, 我也尝试将这种感受在我的作品中表现出来。我喜欢这个建筑的粗犷风格,我觉得它和我的作品的自然感觉很相称。

V大石馆设立的初衷是向公众展示自然石材艺术。现在我们鼓励更多的艺术家在大石馆创作和展示艺术作品,希望将大石馆办成一个自由和开放的艺术空间, 一个文化交流的平台。 如果有可能的话, 您会用石头来创作你的艺术作品吗?

L我一直喜欢石雕,或者更广泛的说是雕塑作品。但这并不意味着我会开始进行雕刻。绘画才是我的激情所在。我曾经在大学的时候尝试在石头上作画,这种事我肯定还会再做。我觉得在天然的材料上作画是件很有意思的事情, 比如在木板或石头上。在某种程度上这些是相一致的,特别是用在我的山川题材的作品上。

V您和大石馆将来有什么合作计划?

L为什么不呢? 我觉得这个空间用来展览不同艺术家不同媒介的作品是太适合不过的了。因为这个空间很大,又有不同的区域,很适合在展示绘画的同时,结合雕塑或者装置,或者玻璃艺术作品等等。

也许可以这样来和EMG大石馆进行合作,比如,在一些石材样板上作画?这也说不定,我期待将来与大石馆继续合作,同时我也很高兴能够同福兰克一起展示作品。

VIt’s your first exhibition in China, we are really happy to have you here in EMG Art Center. Firstly, could you tell us about your art in general?

LYes, it's my first show in China and I'm very excited. Thank you for giving me the opportunity and for being so welcoming.

My art has been a constant development with styles and subjects. I love to experiment with different mediums and working platforms. Because I feel such a strong connection to nature and mountains, I always try and incorporate some of these aspects in my own works. For example painting and engraving on wood, or using charcoal, sand etc...

VDuring your schooling, you mainly focused on portraits, and then the subjects evolves to land-and cityscape, most recently toward abstract, Could you explain to us how is the transition of your art styles?

LWell every artist goes through different phases right? Art in high school was very open and versatile in it's subject choices and mediums. Then in university I did an Illustration degree. In the beginning of this program you could also still experiment with styles and materials. But as time went by, our teachers would push us to stick with one style in particular. This then led me to using mostly watercolors and focusing on portraits. I've always loved 'people watching' in cities. I could sit for somewhere busy for hours, or walk around and observe people. I used to want to take photos of random people just so I could later on paint their portraits. I think the human race is very interesting in general, but especially faces: people's features, facial expressions, the look in their eyes, skin etc.

Then I moved to a tiny little Swiss ski resort called Villars sur Ollon. There was not the excitement of the big city anymore. You saw the same people in the village, no street performers, no street art, this made me loose a bit of my inspiration, and I wanted a change in my art. But I didn't want to just resort to painting mountains solely because I had them outside my window. I really something to get that inspiration back. This resulted in me starting the mountains vs. city landscapes. I thought it was a good balance and representation of my life, of my feelings, of my confusion as to where home was or felt. Where did I want to be, in the city or in the mountains?

I have been trying to go more abstract for a long time. But because of my Illustration background, I always felt like I needed a figurative element in the paintings. It just felt more complete to me. And I didn't want to force it either. Then one day a few months ago, I decided to try again. I had very strong emotions at the time and just decided to let it out. It was the first time that I wasn't thinking about composition and subject. It was a great feeling! I felt more like a painter and less of an illustrator. I am very happy with these newest works and I intend on continuing in this direction for a while.

VWhat is your impression on the space of EMG Art Center? What attracts you to exhibit your art here?

LThe space in EMG is quite big and open but dark at the same time. It gives the visitor different feelings, leaves it open to your imagination and emotions, which I also try to portray in my works. I love that the building is raw, I think it suits the nature feel of my paintings.

VThe original aim of EMG Art Center is to show the natural stone art to the public, and now we encourage more artists to work and show their works here, make it into a free and open art space, a platform for cultural exchange. So if it’s possible, will you work with stone for your art?

LI have always loved stone sculptures, sculptures in general, but I do not think I will start sculpting. Painting is really my passion. However, i had done a few paintings on stone when I was in university. This is definitely something I would do again. I always find it interesting to paint on raw materials like wood and stone. It makes sense in a way, especially with my mountain works.

VDo you have any plan to work more with EMG Art Center in the future?

LWhy not, I think the space is great for exhibiting different mediums and artists at the same time. Because the gallery is so big, with different areas, it's very suitable for showing paintings combined with sculptures, or installations, or glass works etc.

Maybe we could do a collaboration with the EMG gallery, possibly painting on some of the flat stone samples? Never say never, I am certainly open for any future collaboration. And I am very happy to be able to show my work next to Frank's.

 

 

福兰克.格雷兹勒访谈                      INTERVIEW with FrankGerlitzki

 

V:王辉                                 V:Victor Wong

F: 福兰克.格雷兹勒                       F:Frank Gertitzki

 

 

 

V在您20多年的艺术生涯中, 您有多重身份,既是画家,摄影师,又是多媒体艺术家和作家。您在北京, 广州和深圳都参加过展览, 请您谈谈您对这三个城市的的艺术气氛和艺术市场的看法?

F: 很难比较: 北京的当代艺术有30年的历史,已经形成了一个重心,吸引了一批出色和资深的艺术家在这个城市生活和创作,并配备相应的艺术机构来支持当代艺术的创作,与公众形成频繁的互动交流。而在中国南方,要阐述艺术不仅仅是将彩色的绘画挂在墙上,而后想方设法地将其卖出去,还是一件比较困难的事。

V同中国其他的画廊相比, 您觉得大石馆是怎样的一个艺术空间?

F:大石馆是个很有意思的空间,将很多新旧元素结合在一起。既宽敞有颇具功能性,而且坐落在一个很惬意的新艺术园区内。

V我们知道您用在大石馆展示的石材作品来进行您的装置艺术创作,您能告诉我们为什么会有这样的创意?

F我的艺术创作总是致力于将艺术空间,艺术元素,甚至艺术作品的地理及人文环境结合起来。在一般的语境下, 将这些元素抽取出来, 讲述一个新的故事。这一直是对我艺术创作的一个挑战。

V我知道您之前在卢森堡有自己的画廊,您曾经策划过很多画展, 包括您自己的个展。假设您是大石馆的策展人, 您会怎样将它办成中国一流的艺术空间?

F艺术画廊不是一个“普通”的行业。它也具备一种教育的功能。所以要在整体规划上设定一个高的标准和定位,树立一个绝不妥协的具有独特自我个性的形象,我得承认这绝非一件容易的事情…

V除了装置艺术外, 您会用石头来进行其他的艺术创作吗?

F完全可以。传统的石材艺术创作多是石雕和装置作品。但是为什么不能诉诸于其他与石头直接接触的方式呢?比如在石头上直接作画或者用石头来搞行为艺术?

V大石馆是雅伦格控股集团公司旗下的一个艺术空间。目前有很多大的集团公司都有自己的画廊或艺术空间,您认为这是一种提升公司形象的好方式吗?您是怎样看待艺术和商业之间的关系的?

F完全必要,并且很多成功的例子证明这种方式是完全可能的。独立的当代艺术创作需要企业的扶持,而企业对文化事业的支持一定能够提升企业自身的形象。它们就象一对良好的合作伙伴, 互相尊重, 和睦共处,一定能达成共赢。

VYou have been working with art for more than 20 years, as painter, photographer, multi-medium artist and writer. And you have exhibited your works in Beijing, Guangzhou and Shenzhen, what do you think about the artistic atmosphere and art markets in these 3 cities in China?

F: Difficult to compare: Beijing has a 30-year long contemporary art experience. There is an important concentration of talented and experienced artists working, structures which support contemporary creation and a constant exchange with a public. Whereas in southern china it’s still difficult to communicate that art can be much more than hanging colorful paintings on a wall and trying to sell them.

VWhat do you think about the space of EMG Art Center comparing with the space in other galleries in China?

F:An interesting space because of the combination of old and new elements. Spacious and functional situated in a cosy new art area?

VWe know you use the stone works displayed in EMG Art Center to do your installation. Could you tell us how come you have such an idea?

FMy artwork always consisted in integrating the art-space, its elements and eventually even its geographical and social surroundings. Getting these elements out of their usual context, make them tell a new story, is always my challenge.

VI know you had your own gallery in Luxembourg before. And you have held many exhibitions not only for yourself, but many other artists. Supposed you are the curator of EMG Art Center, what will you do to make it into a leading art space in China?

FAn art-gallery is not a “normal” business. It has an educational function as well. So setting a high level in their programmation and trying to keep showing and elaborating art-projects on this level, by creating an own image without compromises…I admit its not an easy job…

VExcept for art installation, what else do you think you can make art with stone?

FAll kind! The classic working stones to create sculptures or installations, but why not other concrete contacts with stones like painting or performing with them?

VEMG Art Center is actually under EMG Stone Company. Nowadays, many big companies have their own art space or galleries; do you think it’s a good way to promote the company image? How do you think about the relations between art and commercial business?

FAbsolutely necessary and, as many successful examples can prove, absolutely possible. Independent contemporary creation needs support and supporting cultural projects can absolutely improve a commercial company’s image. Like in a good partnership, respectful working or living together is always advantageous for both parts.

 

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