11月20日，那特畫(huà)廊將帶來(lái)Josef Achrer的個(gè)展：數(shù)據(jù)主義理論。展覽將展出藝術(shù)家最新的繪畫(huà)和裝置作品，通過(guò)“數(shù)據(jù)”系列作品呈現(xiàn)出藝術(shù)家近年在創(chuàng)作媒介和藝術(shù)語(yǔ)言中的思想軌跡與持續(xù)探索。在2013年后的數(shù)據(jù)主義創(chuàng)作中，Josef Achrer再一次使用他的象征主義，將畫(huà)面元素劃分成兩類——雖然他并沒(méi)有明確指出，但我們?nèi)钥梢酝ㄟ^(guò)他的暗示找出蛛絲馬跡。有一部分漸變的色彩元素涉及到對(duì)RGB和CMYK信息系統(tǒng)的思考，而另一部分則看上去暗示了“信息”的存在方式，那些涉及到框定的線條或色塊。Josef Achrer常常使二者以一種奇怪的方式混合起來(lái)，他就是用這種方式去工作的，在最終的圖像中我們讀到了他的感受：二者常常像悖論一樣難以分割，有時(shí)又像同在一個(gè)維度那樣自然。

在平面之下，Josef Achrer的作品往往會(huì)對(duì)墻壁投以一抹熒光色，這種設(shè)計(jì)并非孤例，但卻和他的感受緊密聯(lián)結(jié)。熒光色投影擾動(dòng)了作品的平面性，使我們注意到物質(zhì)性的存在。信息和數(shù)據(jù)是如何構(gòu)成我們所見(jiàn)的物質(zhì)呢？物質(zhì)在多大程度上被侵入了？這些都是Josef Achrer所關(guān)切的主題。

Josef Achrer的一些最有趣的數(shù)據(jù)主義作品與扭曲有關(guān)。例如這根黑色棍狀物的扭曲，它有一個(gè)直線狀版本，另一個(gè)完全類似，但卻帶有一段微弱的扭曲。這兩者放在一起閱讀，會(huì)獲得意想不到的效果。首先，Josef Achrer也許相信，信息、數(shù)據(jù)和物質(zhì)之間存在著映射關(guān)系。但我們無(wú)法完全信任這種映射，當(dāng)你看到一個(gè)彎曲物和不彎曲物的映射是完全一致時(shí)（它們都有著完全雷同的RGB投影），你就能理解他的意思：信息、數(shù)據(jù)和物質(zhì)是有關(guān)的，但它們未必是一一對(duì)應(yīng)的。這也就意味著，我們很可能無(wú)法完全通過(guò)數(shù)據(jù)建立信息，并最終把握物質(zhì)。我們所獲得的這些巨大的綜合體，它們建立在一個(gè)并不穩(wěn)固的根基上，里面充滿著與心智有關(guān)的陷阱。

人類在認(rèn)識(shí)世界的過(guò)程中不斷懷疑這個(gè)世界，問(wèn)題的出發(fā)點(diǎn)和分析甚至解決問(wèn)題的方法會(huì)應(yīng)運(yùn)而生，結(jié)果往往“不期而至”。因此，我們從藝術(shù)家的“數(shù)據(jù)主義”的宣言中可以發(fā)現(xiàn)，即便使用傳統(tǒng)的材料，他也仍然在處理今天人類面臨的新問(wèn)題。Josef Achrer把握了一個(gè)關(guān)于藝術(shù)的最基本的特征：藝術(shù)為觀念而不是為語(yǔ)言（經(jīng)常被表述為“形式”）存在：文藝復(fù)興時(shí)期的透視是觀念，提香的色彩是觀念，庫(kù)爾貝(Gustave Courbet)的“真實(shí)”是觀念，印象主義者的光是觀念，當(dāng)然，博伊斯的“黃油”同樣是觀念，正是不同時(shí)期的藝術(shù)家將不同“觀念”作為出發(fā)點(diǎn)，構(gòu)成了我們所說(shuō)的藝術(shù)史。這樣，我們就很容易理解為什么在20世紀(jì)后半葉開(kāi)始的圖像與符號(hào)挪用、拼湊、復(fù)制甚至絲毫不改變就放在展覽空間中的現(xiàn)象具有藝術(shù)史的合法性！也很容易理解為什么Josef Achrer將數(shù)據(jù)和信息作為他的作品出發(fā)點(diǎn)去處理繪畫(huà)是那樣地具有歷史的自信！正如藝術(shù)家自己說(shuō)的：我非常清楚，隔離獲取的經(jīng)驗(yàn)，讓自己達(dá)到一種不受信息影響去創(chuàng)造新數(shù)據(jù)的行動(dòng)是很復(fù)雜的。這是一種罕見(jiàn)的特有的寧?kù)o與集中，這也許與繪畫(huà)最為并列。

On Nov 20，L-Art Gallery presents Josef Achrer solo exhibition：Theory of Dataism. The artist’s new paintings and installations in the series of “from the data series” reveal the thoughts and continuous explorations in his creative medium and artistic language in the recent years. In his Dataist works that followed after 2013， Josef Achrer again used his symbolism and separated the elements of the picture into two categories. Although he does not emphasise them at all， one can find clues to understanding them. The part with elements of gradual colour change is a contemplation on RGB and CMYK information systems. Another part is the communication of the existence of “information” – the lines used for the borders and the colour section. Josef Achrer mixes this duality， often in a very unique way. This is precisely the method he uses in his oeuvre. In the end， however， one can also detect his following feeling from the symbols： paradoxically， this duality is difficult to separate， and sometimes it is thus naturally unifying， as if it would be the only longitude.

Under a flat surface， Josef Achrer’s work has fluorescent colour projected on the wall， which is not a very rare method. But it is important to note that the fluorescent colour is closely connected with his message. Fluorescence brings the flatness of the work to life， bringing the viewer’s attention to the existence of materiality and questions associated with it： how do information and data construct the materiality we see？ To how great an extent has material been violated？ Josef Achrer deals with all of these questions.

Josef Achrer’s most interesting Dataist works are associated with bends and folds. The black staff-shaped work， for example， has its own version in a curved line plus another very similar one， but with a short segment of small folds. When you look at both at the same time， they offer a surprising message. Most of all， Josef Achrer perhaps believes that there is a reflective relationship between information， data and material. But one must not completely trust these reflections. When you see that the twisted object is exactly the same as the untwisted reflection (all are projected with the same RGB)， you understand his idea： information， data and material are in a relationship that is not necessarily 1：1 symmetry. Which also means that in all probability， we are unable to construct information from data and thus grasp material. In fact， all of the gigantic conglomerates that we accept are built on less than entirely stable foundations with the inner failings our mind grants them.

In the course of its discovery of the world， humanity has constantly had misgivings about the world. Methodologies for the premises， analyses， and even solutions for questions ceaselessly arise and bring unexpected results. Hence， as one reads in the artist’s declaration on Dataism， Achrer addresses the questions that humankind faces while using traditional materials. Josef Achrer has thus embraced one of the most fundamental qualities of art： the existence of art as an opinion， not a language (often also called “form”)： During the Renaissance， perspective was an opinion； Titian’s opinion was colour； Gustav Coupert’s opinion was “authenticity”； the Impressionists’ opinion was light. Beuys’ “butter” is also an opinion. “Opinion” is thus the premise for artists from various periods. The thing we call the history of art is composed of these. One can therefore understand why， with their symbolism and graphic symbols， quotes， collages， copies – even those where not even a hair has been changed – became legal tools in exhibition spaces， recognised by art history in the early second half of the 20th century. This also explains very well why Josef Achrer’s works and the painterly way in which he grasped the foundations of data and information have such historical self-assurance：It is clear to me that it must be very complicated to achieve a movement in which new data would be created free of acquired experiences. But in a manner of speaking， this is about the calm and concentration of a visionary. And in painting， that is perhaps what is most important.