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Culture 菌整理编辑，版权为艺术家本人所有
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我想看到不同品质结合在一起：精致与粗糙，色彩与模糊，以及在它们背后的歇斯底里的后调。—艾伯特·厄伦 Qualities that I want to see brought together: delicacy and coarseness, color and vagueness, and, underlying them all, a base note of hysteria.
—Albert Oehlen 
Untitled, Oil on canvas，240 x 240 cm. (94.5 x 94.5 in.)，1993
 Untitled, oil and Inkjet on sewn fabric，150.5 x 149.9 cm. (59.3 x 59 in.)，1993
Music Always, Paintings, Oil, enamel and acrylic on printed canvas，94.5 x 78.4 in. (240 x 199.1 cm.)，1994  Untitled , oil and acrylic on stitched, printed fabric，175.3 x 144.8 cm. (69 x 57 in.)，1992
 Gucken-Krone, Paintings, Oil, lacquer, inkjet print on canvas，70.87 x 56.3 in. (180 x 143 cm.)，2004，
 Untitled, Oil on canvas，116 x 89 cm. (45.7 x 35 in.) 1995–1996
 Meditation über Bürokratische Tendenzen, Prints and multiples, Lithograph on paper，36.2 x 30.6 cm. (14.3 x 12 in.)，2020
 Untitled (Baum 64) , oil on Dibond， 375.6 x 250.2 cm 2016
 Baum, oil on Dibond， 375.6 x 250.2 cm，2014
Baum, oil on Dibond， 375.6 x 250.2 cm，2014
阿尔伯特·厄伦的作品证明了创造性行为与生俱来的自由。通过表现主义的笔触、超现实主义的方法论和自觉的业余主义，他参与了抽象绘画的历史，将抽象的基本组成部分推向了新的极端。
Albert Oehlen’s oeuvre is a testament to the innate freedom of the creative act. Through expressionist brushwork, surrealist methodology, and self-conscious amateurism he engages with the history of abstract painting, pushing the basic components of abstraction to new extremes.' 1978年至1981年，厄伦就读于德国汉堡大学，并迅速在柏林和科隆的艺术舞台上崭露头角。他开始与Junge Wilde艺术家联系在一起，包括Martin Kippenberger和Werner Büttner，他们试图创作出挑战分类和驳斥艺术现状的作品。厄伦的作品跨越了围绕绘画本质的各种争论，将媒介解构为其组成元素——颜色、手势、动作和时间，并摆脱了他对艺术过程的限制。厄伦在此后的几十年里一直在追求这一调查路线，这导致了从20世纪80年代新表现主义创作的抽象和具象风格相结合的作品到由彩色正方形网格组成的绘画之间的惊人变化。 Oehlen studied at the Hochschule für bildende Künste Hamburg in Germany from 1978 to 1981 and quickly rose to prominence in the Berlin and Cologne art scenes. He came to be associated with the Junge Wildeartists, including Martin Kippenberger and Werner Büttner, who sought to create work that defied categorization and refuted the artistic status quo. Straddling various debates surrounding the nature of painting, Oehlen’s work deconstructed the medium to its constituent elements—color, gesture, motion, and time—and evolved out of constraints he applied to his artistic process. This line of investigation, which Oehlen has continued to pursue in the decades since has resulted in striking variations between—from works that combine abstract and figurative styles, created in response to the Neo-ism of the 1980s, to paintings comprising of grids of colored squares. 随着厄伦开始将新技术融入他的作品——喷墨打印机、计算机辅助设计程序，以及对计算机屏幕像素化线条的引用——他为自己设定的参数发生了变化，带来了新的障碍和挑战。其中一些自我强加的“规则”包括限制他的调色板，将漫游的黑线与精心混合的渐变相结合（在Baumbilder[树木绘画]中），以及利用擦除和分层将明亮和浑浊的颜色并置，如2016年的《电梯绘画》，这是一幅由九部分组成的作品。20世纪90年代末，厄伦用通常用于制作广告牌的大型工业打印机在拼贴图像上喷涂，这些图像被转移到画布上。 As Oehlen began to incorporate new technologies into his work—inkjet printers, computer-aided design programs, and references to the pixelated lines of computer screens—the parameters that he set for himself shifted, offering new obstacles and challenges. Some of these self-imposed “rules” include limiting his palette and combining perambulating black lines with carefully blended gradations (in the Baumbilder[Tree Paintings]), and utilizing erasure and layering to juxtapose bright and muddy colors, as in the Elevator Paintings, a single work in nine parts from 2016. In the late 1990s, Oehlen spray-painted over collaged imagery that had been transferred to canvas with large, industrial printers typically used to create billboards. 厄伦最出名的可能是他对“糟糕”绘画的热爱。除了他的许多规则外，他还允许某种尴尬或丑陋进入他的作品，引入令人不安的手势、粗糙的人物、颜料涂抹的人造内脏、大胆的色调和肉色。通过这种方式，他证明了通过绘画实现形式的无限组合，并表明这些组合可以根据艺术家的意愿进行操纵，为观众带来新颖的感知挑战。 Oehlen is perhaps best known for his embrace of “bad” painting. Alongside his many rules, he allows a certain awkwardness or ugliness to enter his work, introducing unsettling gestures, crudely drawn figures, visceral smears of artificial pigments, bold hues, and flesh tones. In this way, he attests to the infinite combinations of form made possible through painting, and shows that these combinations can be manipulated at the artist’s will to produce novel perceptual challenges for the viewer. © Albert Oehlen 排版：Culture菌
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