馬刺畫廊榮幸地宣布將于2023年4月1日推出德國藝術(shù)家安塞姆·雷爾在畫廊空間的首次個展。安塞姆·雷爾生于1970年，是工作于柏林的杰出的當代藝術(shù)家，因尺幅巨大且極富張力的抽象繪畫、雕塑以及大型裝置為人所熟知，消費社會的殘余物、廢棄材料和工業(yè)城市的景觀在他的作品中起著核心作用。此次將在Gallery I & II雙層空間展出其19件作品，囊括他作品中的各種標志性的元素：霓虹燈裝置、現(xiàn)成品家具、鋁箔繪畫、陶瓷、草垛亞克力盒子以及他全新的抽象攝影作品。

安塞姆·雷爾的藝術(shù)創(chuàng)作與現(xiàn)代主義緊密相連，“平衡狀態(tài)”可以理解為他作品中一直存在于對立的矛盾中——他在對現(xiàn)代主義傳統(tǒng)進行借鑒與批判的同時不斷創(chuàng)作與探索出新作品的一種趨勢；同時在藝術(shù)形式語言上，他特意將如熒光色等不和諧的顏色、廢棄回收物品、反光材料匯聚到畫布或者裝置中，讓它們總是在穩(wěn)定與失衡、冷靜與緊張中尋求視覺上的平衡。

一層展廳中的“干草垛”系列、霓虹燈作品，是雷爾一直都在延續(xù)的創(chuàng)作。這次將展出的全新的“干草垛”系列中，他將噴過金屬色的草封入彩色的透明盒子中，每個獨立呈現(xiàn)就已經(jīng)足夠突出與鮮明的顏色被放置到一起，碰撞著“裝飾性”與高雅藝術(shù)之間的邊界。以《無題》（2022）為名的粗麻布繪畫是雷爾近期作出的最新嘗試，顏料、鋁箔等材料的運用展現(xiàn)出更自由的狀態(tài)，著重使用姿態(tài)繪畫的方法將作品創(chuàng)作的過程呈現(xiàn)。同時展出的還有雷爾最新的抽象攝影作品，這些圖像是在夜晚的城市中拍攝的，使用長曝光的方式拍攝的街道廣告和人造燈光被抽象、溶解成了顏色純度極高的光束?！栋膳_》（2020）和2011年的沙發(fā)裝置《無題》將會把二層展廳變?yōu)榻橛谡箯d與客廳之間的狀態(tài)，既打破了傳統(tǒng)白盒子的氛圍，這些現(xiàn)成品原本的功能也被掩蓋，矛盾與復(fù)雜性由此鋪陳開來。

展覽將持續(xù)至5月14日。

Anselm Reyle: Equilibrium

1 April – 14 May 2023

Gallery I & II | SPURS Gallery, D-06, 798 Art Zone, 2 Jiuxianqiao Rd, Chaoyang District, Beijing

SPURS Gallery is honored to present their first solo exhibition of German artist Anselm Reyle at the gallery from April 1, 2023. Anselm Reyle (b.1970) is a distinguished contemporary Berlin-based artist, best known for the massive scale and tensity of his abstract paintings, sculptures, and large installations, where residues of the consumerist society, found materials, and spectacles of industrial cities play the core roles. Hereby in both Gallery I & II, 19 pieces of Reyle’s works will be showcased, covering the numerous signature elements in his art: neon light installation, redesigned furniture, foil paintings, ceramics, straw bales boxed in acrylic glass, as well as his brand new series of abstract photographs.

Anselm Reyle’s art practice is in close connection with modernism. Therefore, “Equilibrium” may be interpreted as the constant condition of existing between conflicting dichotomies – as he borrows from and criticizes the modernist convention, Reyle never stops inventing and exploring the tendency for his new works; meanwhile, in terms of artistic language, he deliberately brings together disharmonious tones such as neon colors, discarded recyclable objects, and reflective materials onto his canvas or installation pieces, leaving them yearning for visual balance over the stability-disorder or calm-tension in-betweens.

The “Straw Bale” series and neon light works on the first floor is a continuation of Reyle’s ongoing lineage. In the new “Straw Bale” series, he sealed the metallic-coated hay into colorful translucent boxes. Each outstanding and bright already by themselves, juxtaposed to confront the boundary between “deco” and high art. The burlap painting Untitled (2022) shows Reyle’s recent practice with different medias like paint and foils, presenting a freer and more dynamic way of using those materials. It emphasizes the steps of gestural painting to reveal the process thereof. Also shown are Reyle’s latest abstract photography works. These pictures were taken at city nights. Captured under long exposure, advertisement by the street and artificial lights are abstracted and dissolved into highly saturated beams of light. Bar (2020) and the sofa installation, Untitled (2011) will turn the second floor into something ambiguous, swinging between a gallery space and a living room, simultaneously breaking the atmosphere of the conventional white cube and covering up the original function of these objects so that contradiction and complexity may unfold.

The exhibition is on view until May 14.

關(guān)于藝術(shù)家

安塞姆·雷爾，生于1970年，是德國最杰出的當代藝術(shù)家之一。1997年從卡爾斯魯厄國立美術(shù)學(xué)院畢業(yè)后不久，他搬到了柏林。他因其大尺幅、超精細的抽象繪畫、雕塑和精心制作的帶有霓虹燈元素的裝置而被人熟知。2009年起，藝術(shù)家在漢堡美術(shù)大學(xué)繪畫系擔任教職。

在專注于繪畫和雕塑之前，雷爾最初的興趣在于景觀設(shè)計和音樂。他深受20世紀60年代的迷幻藝術(shù)啟發(fā)，尤其注意早期朋克運動中熒光色硬邊“政宣”風(fēng)格的平面設(shè)計。他的作品——從大尺幅的抽象繪畫到辨識度極高的雕塑——通常能夠給人留下非常深刻的印象。

雷爾經(jīng)常用到抽象圖形、人工色，以及非傳統(tǒng)材料，例如鋁箔紙、稻草包、櫥窗中的聚酯薄膜；他同時會利用一些社會發(fā)展中所產(chǎn)生的工業(yè)廢料，例如金屬材料——汽車零件、損壞的電腦設(shè)備或玻璃進行創(chuàng)作。顏料，塑型膏以及汽車漆也經(jīng)常出現(xiàn)在他的作品中。

雷爾的很多作品呈現(xiàn)出高度反光的效果，色彩鮮明奪目，并且往往因為使用了霓虹燈或LED而成為名副其實的發(fā)光體，有時還會被罩上亞克力玻璃。他更喜歡運用不和諧的色彩搭配，作品中條紋的質(zhì)地也很特別，例如銀色的鋁箔紙和閃光的黑色砂紙就幾乎不見于一般的色域作品。

在戰(zhàn)后抽象的浪潮中，雷爾諷刺形式主義者的幻想，同時一絲不茍地繼續(xù)其條紋繪畫的創(chuàng)作。他批判地反思主流的品味準則，以及有時帶有烏托邦色彩的現(xiàn)代抽象理想，試圖在作品中挑戰(zhàn)媚俗與高雅藝術(shù)的分別。