彼特·庫(kù)爾特
1946年出生于瑞士蘇黎世(Zurich)，Beat Kuert目前在阿爾茲歐(Arzo)生活和工作。1966年，他拍攝了他的第一部實(shí)驗(yàn)電影，并于1968年起，在蘇黎世的圖爾努斯電影公司(Turnus Film Zurich)從事導(dǎo)演工作。居住于拉丁美洲一段時(shí)間后，他于1971年完成了他的第一部記錄片。第二年起，他開(kāi)始與瑞士-德國(guó)電視臺(tái)(Swiss German Television)合作一系列的文化節(jié)目。1996年，Beat Kuert開(kāi)始拍攝介紹著名建筑師的電視紀(jì)錄片，其中包括尚·努維爾(Jean Nouvel)、馬里奧·博塔(Mario Botta)及赫爾佐格與德穆龍(Herzog & de Meuron)。他曾在盧加諾SUPIS大學(xué)及博爾扎諾Zelig電影學(xué)校執(zhí)教。在瑞士，他被公認(rèn)為是他的時(shí)代中最大膽的探險(xiǎn)家。2005年，他創(chuàng)立了 dust&scratches，這是一個(gè)結(jié)合錄像藝術(shù)、行為表演和音樂(lè)的藝術(shù)創(chuàng)作團(tuán)體。他的實(shí)驗(yàn)作品包括：《Die Zeit ist böse》, 《Pierrotische Beziehungen》,《Il grande inquisitore》及《Am Ende der Zeit》;他導(dǎo)演過(guò)的劇情片中，下列幾部堪稱(chēng)代表作: 《Schilten》、《Martha Dubronski》、《Deshima》及《L’assassina》。
電子藝術(shù)家
發(fā)展情況
Beat Kuert的影像源自于dust&scratches的行為表演;這些影像失去了作為其源頭的行為表演——某種形式的身體藝術(shù)——之物理形態(tài)和現(xiàn)實(shí)性，但如同繪畫(huà)和雕塑一樣，獲得了一種同樣展示著人工特質(zhì)的誘發(fā)力。它們經(jīng)歷了同樣的煉金術(shù)似的轉(zhuǎn)化。Beat Kuert作品中的象征性人物意喻著一種“生命的存在”，藝術(shù)家則將這種存在狀態(tài)認(rèn)知為藝術(shù)形式或藝術(shù)作品。因此，很顯然，Beat Kuert是策略性地在創(chuàng)作中使用錄像方式，以錄制所觀察到的活動(dòng)的錄像取代“行為表演”或?qū)顒?dòng)的直接展示。通過(guò)這種技巧，他的作品提供了多種可讀性，同時(shí)也具備了一種與眾不同和理想化的意義。
手法
Kuert的照片作品是取材于自己的錄像作品中的畫(huà)面，那些最具代表性的影像被靜止并抽離了，如此，觀賞者或許能更加深刻和精細(xì)地解讀作品。Kuert運(yùn)用錄像圖像的變形能力，利用對(duì)圖形的電子“質(zhì)地”進(jìn)行干預(yù)的可能性，利用無(wú)限分裂的像素、以及極具象征性和隱喻性的電子色彩的可能性，顯示出其內(nèi)在的煽情特質(zhì)。
風(fēng)格
Beat Kuert是一位最接近繪畫(huà)方法的錄像藝術(shù)家。他退出60年代錄像藝術(shù)典型的“語(yǔ)言極簡(jiǎn)主義”行列，走向某種由強(qiáng)烈燃燒般的色彩所組成的“巴洛克式畫(huà)意”表現(xiàn)風(fēng)格，此風(fēng)格透過(guò)計(jì)算機(jī)對(duì)影像的干預(yù)更為凸顯。以往以繪畫(huà)為手段的“圖像之爭(zhēng)”，在這里則發(fā)生在電子媒介的冰冷天性和同樣亦是電子的、熱烈鋪陳的色彩之間。藉由一個(gè)一切具象藝術(shù)共有的手段，Kuert以這種方式確證了一種更有意義的“對(duì)現(xiàn)實(shí)的領(lǐng)悟”。
(Enzo di Martino)
獎(jiǎng)項(xiàng)
1979 《Schilten》獲評(píng)論家獎(jiǎng)、評(píng)審團(tuán)特別獎(jiǎng)、國(guó)際藝術(shù)電影協(xié)會(huì)獎(jiǎng)(耶爾電影節(jié))
1979 《Schilten》獲普世評(píng)審團(tuán)獎(jiǎng)(洛迦諾電影節(jié))
1979 《Schilten》獲蘇黎世城市獎(jiǎng)
1985 《Martha Dubronski》獲“Chretiens Media”評(píng)審團(tuán)獎(jiǎng)(斯特拉斯堡人權(quán)電影節(jié))
1985 《Martha Dubronski》獲最佳女主角獎(jiǎng)(圣雷莫國(guó)際影展)
1985 《Martha Dubronski》獲最佳導(dǎo)演評(píng)審團(tuán)獎(jiǎng)、最佳編劇評(píng)審團(tuán)獎(jiǎng)(布盧登茨電影節(jié))
2005 《Berg und Geist》獲Walo獎(jiǎng)
展出
部分個(gè)展
2010年7月 映畫(huà)廊，北京(中國(guó))
2010年5月 “VERTIGO(眩暈)”，藝術(shù)畫(huà)廊, 都靈 (意大利)
2010年1月 “Room without a view(看不見(jiàn)風(fēng)景的房間)”，新波畫(huà)廊，上海(中國(guó))
2009年11月 “Moving Earth(旋轉(zhuǎn)·地球)”，菲籽畫(huà)廊，上海(中國(guó))
2009年9月 “Spazio Lectra”, Paolo Errico Collection 2010，米蘭(意大利)
2009年6月 “INFINITY// digital expressionism(無(wú)限//數(shù)碼表現(xiàn)主義)”，Iris Schumacher畫(huà)廊, 柏林(德國(guó))
2008年11月 “DESTROYED LINES(毀壞的界線)”，緣分新媒體藝術(shù)空間，北京(中國(guó))
2008年11月 “DESTROYED LINES(毀壞的界線)”, 想象畫(huà)廊，北京(中國(guó))
2008年3月 蘇黎世Finter銀行，基亞索(瑞士)
2008年2月 “WHO/MAN(誰(shuí)/人)”，藝術(shù)工作室，馬利亞索(瑞士)
2007年8月 “Donna Carnivora(食肉目女人)”, 拉瓦尼安畫(huà)廊,威尼斯(意大利)
2007年4月 “Donna Carnivora(食肉目女人)”，Scoletta dei Tiraoro e Battioro, 威尼斯(意大利)
出版物
《Tascabili di fotografi della Svizzera italiana》(《瑞士意大利攝影作品集》)
01號(hào)《Gaia》(《蓋亞》)為Beat Kuert作品
Adriano Heitmann策劃
QTI出版社, 斯塔比奧, 瑞士，2010
《Destroyed Lines》
電子書(shū)，作者：Beat Kuert，評(píng)論：王春辰、Ellen Pearlman、張小濤、Novella Prestigiovanni
Timezone 8出版，北京，2008
《Donna Carnivora》
策劃：Enzo Di Martino，出版：dust&scratches，2007
Born 1946 in Zurich, Beat Kuert lives and works in Arzo.
In 1966 he makes his first experimental films and starts to work as a director for Turnus Film Zurich in 1968. In 1971, after a stay in Latin America, he makes his first documentary. The next year he begins cooperating with the Swiss German Television on cultural programs.In 1996 he starts making television documentaries on famous architects, including Jean Nouvel, Mario Botta,Herzog & de Meuron. He taught at the University (SUPIS) in Lugano and at the filmschool “Zelig” in Bolzano.Acknowledged as one of the most audacious explorers of his generation in Switzerland, in 2005 he creates the group “dust&scratches” which is concerned with video art, performances and music. His experimental works include: “Die Zeit ist böse”,“Pi-errotische Beziehungen”, “Il grande inquisitore” and “Am Ende der Zeit”; are considered to be his most important works of fiction: “Schilten”, “Martha Dubronski”, “Deshima”and “L’assassina”.
Electronic artist
Development
Beat Kuert’s images are born from the performances by dust&scratches; they lose their physical aspects and the realism of the performance from which they originate – some sort of body-art - and acquire a valence that reveals the same artificiality as painting and sculpture. They undergo the very same alchemical transformation. His symbolical figures represent a living existence which the artist perceives as form/work of art. It is therefore obvious that Beat Kuert uses a sort of artifice in his work, replacing the “performance”, or the direct display of the event, with the video record of the observed event.Through this artifice, it gains a diverse legibility, and a different and transfigured significance.
Technique
His photographs are stills from his videos, in which the most representative image is stopped and isolated,perhaps to allow a deeper and more elaborated reading.Kuert employs the metamorphic abilities of the video image utilizing the possibility of intervening on the electronic “texture” of the figures, and using the infinite fragmentation of pixels and, the possibilities of the electronic color in a strongly symbolical and metaphoric manner, proclaiming its intrinsic evocative qualities.
Style
Beat Kuert is the video artist closest to the manner of painting. Voiding the “linguistic minimalism” typical of the video art of the 60s and moving towards a sort of “pictorial baroque-like” expression made of strong ignition of colours, accentuated by the interventions on the images made with a computer. The “fight for the image” fought in the past through the means of painting,happens here between the natural coldness of the electronic means and the warm gesture of the spreading of colour, also electronic. With a procedure that all figurate art has in common, Kuert affirms in that way a more meaningful “intelligence of the reality”.
(Enzo di Martino)
Awards
1979 Critics Award, Special Award of the Jury, Award of the International Association Cinema d´Arts et d´Essai (Festival di Hyeres), Schilten
1979 Award of the Ecumenical Jury (Festival di Locarno), Schilten
1979 Award Zurich City, Schilten
1985 Award of the Jury “Chretiens Media” (Festival de droit de l´homme Strasbourg), Martha Dubronski
1985 Best Actress (Mostra internazionale del film d’autore di San Remo), Martha Dubronski
1985 Award of the Jury for Direction, Award of the Jury for Screenplay (Festival di Bludenz), Martha Dubronski
2005 Walo Award, Berg und Geist
Exhibitions
Selected personal exhibitions
2010/7 Inter Gallery, Beijng (China)
2010/05 VERTIGO, Allegretti Contemporanea, Torino (I)
2010/01 Room without a view, New B Gallery, Shanghai (China)
2009/11 Moving Earth, Feizi Gallery, Shanghai (China)
2009/9 Spazio Lectra, Paolo Errico Collection 2010, Milan (I)
2009/6 INFINITY// digital expressionism Galerie Iris Schumacher, Berlin (D)
2008/11 DESTROYED LINES, Yuanfen New Media Art Space, Beijing (China)
2008/11 DESTROYED LINES, Imagine Gallery, Beijing (China)
2008/3 Finter Bank Zuerich, Chiasso (CH)
2008/2 WHO/MAN, Officinaarte, Magliaso (CH)
2007/8 DONNA CARNIVORA, Galleria Ravagnan, Venice (I)
2007/4 DONNA CARNIVORA, Scoletta dei Tiraoro e Battioro, Venice (I)
Publications
Tascabili di fotografi della Svizzera italiana
“Gaia”, No. 01 dedicated to Beat Kuert
Curated by Adriano Heitmann
QTI-publishing, Stabio, Switzerland 2010
“Destroyed Lines”, Videobook by Beat Kuert, critics by
Wang Chunchen, Ellen Pearlman, Zhang Xiaotao and Novella Prestigiovanni,
Timezone 8 Edition, Beijing, 2008
“Donna Carnivora”, catalogue curated by Enzo Di Martino,
Edizioni dust&scratches, 2007
出版物
《Tascabili di fotografi della Svizzera italiana》
01號(hào)《Gaia》(《蓋亞》)為Beat Kuert作品
Adriano Heitmann策劃
QTI出版社, 斯塔比奧, 瑞士，2010
《Destroyed Lines》
電子書(shū)，作者：Beat Kuert，評(píng)論：王春辰、Ellen Pearlman、張小濤、Novella Prestigiovanni
Timezone 8出版，北京，2008
《Donna Carnivora》
策劃：Enzo Di Martino，出版：dust&scratches，2007