【原】安塞姆·基弗个展：坠落天使

安塞姆·基弗×ANSELM KIEFER

「堕落天使」

AN ART MUSEUM

从某种意义上讲，科学就像神秘事物，

因为它并不能使我确信任何东西。

智慧应当让我们确定；艺术应当让我们怀疑。

当我在创作一幅真正伟大的画作时，我会感到真实。

des Malers Atelier

基弗融会贯通般的材料处理方式也延展到了他对历史、文学和神话作为影响当下力量的思考。在新作品中，他将《出埃及记》中的希伯来文铭文和其叙事相关的主题内容融合在一起，同时又纳入了其他不同的参考来源。这些画作充满了民族、地域和时代间的象征性界限，作为一种形而上的寓言，对迷失与解脱、剥夺与归乡予以沉思。

Anselm Kiefer's thoughtful approach to materials extends to his thinking about history, literature and mythology as forces that influence the present. In the new work, he blends Hebrew inscriptions from the Book of Exodus with thematic content related to its narrative, while also incorporating different sources of reference. Filled with symbolic boundaries between nations, places and times, these paintings serve as metaphysical allegories, meditations on loss and liberation, deprivation and homecoming.

Anselm Kiefer

安塞姆·基弗

堕落天使

Fallen Angel

编辑 · EDIT / ©ROSAN

艺术家 ·ARTIST /©ANSELM KIEFER

发行推广·LSSUANCE OF PROMOTION / ©AN ART MUSEUM

ARTIST-ANSELM KIEFER

■ The large-scale paintings on view in New York and Los Angeles employ a wide range of materials including paint, terra-cotta, fabric, rope, wire, found objects, sediment of electrolysis, and metal—including copper and gold leaf. Mixing the abject and the exalted, these works are imbued with gesture, a sense of metamorphosis, and alchemical symbolism.Kiefer’s syncretic approach to materials extends to his understanding of history, literature, and mythology as forces that inform the present. In this new body of work, he incorporates inscriptions in Hebrew from the book of Exodus, with thematic references to its narrative blended with a diversity of other sources. Full of symbolic thresholds between peoples, places, and times, the paintings are metaphysical allegories that meditate on loss and deliverance, dispossession and homecoming.

ANSELM KIEFER

T I M E L I N E｜WORKS

String, Theorie, 2018 – 19

Emulsion, oil, acrylic, shellac, wood and straw on canvas

185 1/16 x 224 7/16 in. (470 x 570 cm)

Untitled, 2017 – 18

Emulsion, oil, acrylic, shellac, wire and wood on canvas

185 1/16 x 220 1/2 in. (470 x 560 cm)

Ramanujan Summation, 1/12, 2019

Emulsion, oil, acrylic, shellac and wood on canvas

259 13/16 x 261 13/16 in. (660 x 665 cm)

Der Gordische Knoten, 2018

Oil, emulsion, acrylic, shellac, wood and metal on canvas

110 1/4 x 149 5/8 in. (280 x 380 cm)

Die Lebenden und die Toten, 2017 – 18

Emulsion, oil, acrylic, shellac and straw on canvas

185 1/16 x 220 1/2 in. (470 x 560 cm)

Väinämoinen sucht die drei fehlende Buchstaben, 2018 – 19

Emulsion, oil, acrylic, shellac and wood on canvas

185 1/16 x 299 3/16 in. (470 x 760 cm)

String Action, 2018

Oil, emulsion, acrylic, shellac and straw on canvas

185 1/16 x 220 1/2 in. (470 x 560 cm)

The Veneziano Amplitude, 2019

Oil, emulsion, acrylic, shellac and wood on canvas

185 1/16 x 299 3/16 in. (470 x 760 cm)

Edward Witten: Quantized Gravity, 2019

Emulsion, oil, acrylic, shellac and wood on canvas

149 5/8 x 149 5/8 in. (380 x 380 cm)

The Elegant Universe, 2019

Emulsion, oil, acrylic, shellac and wood on canvas

149 5/8 x 149 5/8 in. (380 x 380 cm)

Right Wing, Left Wing, 2019

Oil, emulsion, acrylic, branches, wood and metal on canvas

110 1/4 x 299 3/16 in. (280 x 760 cm)

nubes pluant, 2016

Oil, acrylic, emulsion, and shellac on canvas

129 15/16 × 224 7/16 in. (330 × 570 cm)

Gehäutete Landschaft, 2016

Oil, acrylic, emulsion, shellac and lead on canvas

149 5/8 × 224 7/16 in. (380 × 570 cm)

Walhalla, 2016

Oil, acrylic, emulsion, shellac and lead on canvas

149 5/8 × 224 7/16 × 16 9/16 in. (380 × 570 × 42 cm)

Lapis Philosophorum, 2014, Acrylic, emulsion, oil, shellac

metal, volcanic stone, gold leaf, and sediment of electrolysis on photograph mounted on canvas

110 1/4 × 149 5/8 × 15 3/8 in. (280 × 380 × 39 cm)

Melancolia, 1982–2013

Collage of woodcuts on canvas with acrylic and shellac

147 1/4 × 110 1/4 × 1 15/16 in. (374 × 280 × 5 cm)

aßt tausend Blumen blühen, 2012, Oil, acrylic

shellac and charcoal on photographic paper on canvas

104 5/16 × 149 5/8 × 3 15/16 in. (265 × 380 × 10 cm)

Der lange Marsch, 2012, Oil, acrylic

shellac and charcoal on photographic paper on canvas

74 13/16 × 149 5/8 × 3 1/8 in. (190 × 380 × 8 cm)

Gebrochen Bluemen und Gras, 2012, Oil, acrylic

shellac and charcoal on photographic paper on canvas

74 13/16 × 149 5/8 × 3 15/16 in. (190 × 380 × 10 cm)

Laßt tausend Blumen blühen, 2012, Oil, acrylic

shellac and charcoal on photographic paper on canvas

98 7/16 × 230 5/16 × 3 15/16 in. (250 × 585 × 10 cm)

Le dormeur du val, 2012, Oil, acrylic

shellac and charcoal on photographic paper on canvas

74 13/16 × 129 15/16 × 2 3/4 in. (190 × 330 × 7 cm)

Laßt 1000 Blumen blühen, 2012, Oil, acrylic

shellac and pastel on photographic paper on canvas

74 13/16 × 129 15/16 × 2 3/4 in. (190 × 330 × 7 cm)

Birnam Wood, 2009, Jesmonite, lead, brambles, acrylic

oil, emulsion, ash and shellac on canvas in steel and glass frame

130 11/16 × 226 3/4 × 13 3/4 in. (332 × 576 × 35 cm)

Für Ingeborg Bachmann: der Sand aus den Urnen, 1998–2009

Acrylic, oil, shellac and sand on canvas

110 1/4 × 220 1/2 in. (280 × 560 cm)

Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss

2005, Glass and hair, Dimensions variable

Für Velimir Chlebnikov: die Lehre vom Krieg, 2004

Oil, emulsion and acrylic on canvas with lead boat

74 13/16 × 110 1/4 in. (190 × 280 cm)

Velimir Chlebnikov: Seeschlachten alle 317

Jahren oder deren Vielfachen

2004, Oil, emulsion and acrylic on canvas with lead boats

74 13/16 × 129 15/16 in. (190 × 330 cm)

Velimir Chlebnikov: Schicksale der Völker, 2004

Oil, emulsion and acrylic on canvas with lead boat

149 5/8 × 220 1/2 in. (380 × 560 cm)

Velimir Chlebnikov: Lehre vom Krieg, 2003

Oil, emulsion and acrylic on canvas with lead boat

74 13/16 × 129 15/16 in. (190 × 330 cm)

SELECTED

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