WHITE MOUSTACHES AND OTHER WORKSOpening: 4 / 27 Saturday at 17:00 Tuesday to Saturday 13:30 - 18:00Chinese European Art Center
感谢荷兰蒙德里安基金会对此驻馆项目及展览的大力支持。This residency and exhibition was made possible with the generous support by Mondriaan Fund.Herman Labro的多面个性，纸上水粉，素描Herman Labro's multi-facetted personality, 2016gouache, pencil drawing on paper中国欧洲艺术中心十分开心地呈现来自Voebe de Gruyter 的新作。作为一位叙事性观念艺术家，她作品的核心是叙事性绘画、文字、摄影作品和装置。有些作品通过艺术家的存在获得了表演性特征。
在其2020年作品《黑暗的图书馆让艺术品孵化》中，艺术品是由图书馆孵化的。相互影响的引导力会导致意想不到的现象。机缘巧合在她广泛的题材选择中发挥着重要作用。同时发生的神秘情境和现象也是其新作品的重要灵感来源。对Voebe de Gruyter而言，人与物之间存在着持续的互动。例如，在她 1994 年的《口香糖图画》（阿姆斯特丹市立博物馆藏）中，她记录了人行道上包含语音文本的扁平口香糖。后来，基于弦理论的类比，并花费了大量时间盯着地面，她发展出了“电缆理论”——该理论描述了存在于办公家具下方的世界。桌子上方是万维网；下方是电缆的世界。作为一名艺术家，De Gruyter 采用了科学家的观点。就像科学一样，她的关注点是将肉眼经常无法看到的信息可视化。在厦期间，De Gruyter对存在于户外的中国古代历史非常着迷。具体来说，一次去中国朋友家拜访，她在阳台上看到了一些古老陶瓷碎片， 它们被随意放置在花盆里面或者周边，她对此很感兴趣。通过检查她朋友们在公园或建筑工地散步时发现的这些碎片，人们可以穿越各个朝代，因为其中一些已有数千年的历史。De Gruyter 创作出清醒而诚实的艺术品，不带任何艺术伪装。她的主要目标不是创造出最终的、明确的艺术作品，而是记录自身经历或提出建议，这些建议将为周围的现实提供不同视角。De Gruyter的作品常常将自己置于出现和消失之间的临界空间。有些作品仅以文本或艺术家头脑中的想法存在。Chewing Gum. Stored Information, 1994 - 1996Pencil and chewing gum on graph paperDarkened Bookstorage Dictates Art Works To Hatch, 2020 Gouache, color pencil and collage on paperCEAC is pleased with Voebe de Gruyter's new presentation. Being a narrative conceptual artist, the core of her work consists of narrative drawings, texts, photo works, and installations. Some works acquire a performative character through her presence.In the work 'Darkened library dictates artworks to hatch', 2020, artworks are hatched by a library. Guiding forces that influence each other lead to unexpected phenomena. Also serendipity plays an important role in her very wide choice of subject matter. Mysterious situations and phenomena which occur simultaneously are important sources of inspiration for new work. With Voebe de Gruyter, there is a continuous interaction between human and thing. For example, in her Chewing Gum Drawings from 1994 (collection of the Stedelijk Museum Amsterdam), she documented that flattened chewing gum on sidewalks contained spoken texts. Later, she developed her ‘cable theory’ – based on an analogy with string theory and on spending a lot of time staring at the ground – a theory describing a world that exists underneath office furniture. Above the desks is the World Wide Web; below is the world of the cables. As an artist, De Gruyter adopts the viewpoint of the scientist. Like in science, her focus is on visualising information that cannot always be seen with the naked eye.During her stay in Xiamen, De Gruyter became fascinated by the ancient Chinese history that lies out in the open on the ground. Specifically, she was intrigued by the very old shards and pieces of ceramics carelessly placed in and around planters that she observed on a balcony during a visit to her Chinese friends' house. By examining these shards - which her friends found during walks in parks or construction sites - one can journey through various dynasties, some of which are thousands of years old.De Gruyter makes sober and honest artworks free of artistic pretentions. Her primary goal is not to create finished, definitive artworks but to note down her experiences or make suggestions which will offer a different view of the surrounding reality. De Gruyter’s work often situates itself in the liminal space between appearing and disappearing. Some works exist only as text or as thoughts in the artist’s head. The Cable Theory. Offices Seen Through String Theory, 2004Pencil on paper，21 × 29.7 cmThe Cable Theory. Office 6, 2003Pencil on colour photo, 29.7 × 42 cm銮崇的阳台，Luanchong's Balcony 2024阅读、粘在弯曲铝板上的彩绘图画、在Geuze啤酒中烘干的法兰绒毯子、Geuze啤酒、玻璃杯Participating Wild Yeasts, 2020Reading, painted drawing glued on bend aluminium, flannel blanket dried in Geuze beer, Geuze beer, glasses
2024年4月27日 17:00 ～ 2024年6月1日 18:00
中国欧洲艺术中心
Winnie报名
颂祺报名
欢乐马报名
