莱比锡新绘画群展现场 2023.2.1-2023.3.1
The scene of New Painting in Leipzig group exhibition
由德中文化交流基金会（GeKA）和白盒子艺术馆共同主办的“莱比锡新绘画”展览，作为2023开年新展于798艺术区白盒子艺术馆正式开幕。莱比锡是一座被歌德赞美为“小巴黎”的德国东部城市，此次参展的6位艺术家来自当地的创作根植于东德传统绘画风格、技巧与观念的艺术流派——新莱比锡画派。他们基于社会主义现实主义，以具象绘画的方式追求画面的叙事性，源于古典却又打破传统的美学秩序，带有超现实主义的错位和梦幻感，反映了新表现主义与博伊斯对其的影响。在中德建交50年之际，德中文化交流基金会创始人张彧女士表示此次展览“既是我们为中德友谊的艺术献礼，同时也是我们基金会以及在德海外华人对中德人文交流的未来美好的祝愿和期许”。6位艺术家通过他们的作品启发具象绘画在当代的复兴，探索群体式的内在共同精神。
莱比锡新绘画
New Painting in Leipzig
文/孙永增
By SUN Yongzeng
莱比锡绘画是少数以特定的地域命名的绘画艺术流派。位于前东德地区的城市莱比锡，由于特定的历史背景和社会现实，产生了一批以在莱比锡平面与书籍艺术学院和这座城市学习和生活背景的艺术家，他们的绘画延续了根植于东德传统绘画风格、技法与观念，从60年代开始，并于90年代后在国际艺术界崭露头角。他们写实性绘画技法在严格的基础训练中被保留下来，在东西德统一和全球化的今天，莱比锡绘画的艺术家所面对的现实和环境已大不相同，但作为一种以绘画展开和感知世界的方式，被延续下来，并启发了具象绘画在当代的复兴，其精神至今仍绵延不绝。正如《莱比锡百科》中提到：“莱比锡画派的特色在于它是一种要求深入精神及知识，拓展认识层面的现实主义”。
New Painting in Leipzig is a rare school of art that is named after a certain location. Leipzig is located in the region of former East Germany. Its special historical background and social realism have given birth to a group of artists who have studied in Hochschule für Grafik und Buchkunst (Academy of Fine Arts Leipzig) and lived in this city. Their artwork, which started to become known beginning in the 1960s to after the 1990s, maintains the traditional artistic style, techniques and ideology of East Germany. The techniques of their realistic painting have been preserved by strict basic training. In today’s environment after the reunification of West and East Germany together with globalization, the realities and environment which Leipzig painting artists are facing have changed. As a medium for developing painting and understanding the world, it has been preserved and inspired a renaissance in figurative painting in the contemporary era, and its spirit is still alive today. In the “Leipzig Encyclopedia”, it says, “The uniqueness of the Leipzig school lies in that it is a type of realism that stimulates a broad intellect and expands knowledge.”
罗莎·洛伊《三种命运》 酪蛋白 亚麻布 210x190cm 2016
Rosa Loy, Three Fates, casein on canvas 210x190cm 2016
放眼莱比锡新绘画，形式多样而丰富，犹如万花筒般展开。但作为一个有共同渊源绘画流派，在技法、风格和观念层面依旧保留有一些共享的机制和特征。从技法层面来看，与大多现代艺术流派所倡导的价值观念不同，他们并未全然否定传统架上绘画中的技术性价值，而是保留了古典绘画中的技法。在严格的学院式的训练中，素描、色彩、透视和空间结构，作为绘画语言的要素被重视，这些基本要素甚至在一些表现性和抽象性的新绘画中仍被坚持。
The art of New Painting in Leipzig exhibitsvarious and diverse forms that dazzle the eye like a kaleidoscope. But sincethe diverse artistic forms share common roots of the same painting school,their techniques, styles and ideologies share common features. From itstechniques, its values greatly differ from the majority of modern artisticschools. They do not completely disavow the technique value of traditionaleasel painting and even retain classical painting techniques. Through strictacademic-like training, importance is placed on the elements of line drawing,coloring, perspective and space as the language of painting, even using thesebasic elements in new expressive and abstract painting.
出色的绘画技法，保证了艺术家清晰的表达。就风格和形式而言，他们强调具象和叙事性的意义。从日常表象入手，运用复杂的透视和构成关系，呈现混杂而开放的叙事性图景，将目光从现实中抽离，进入虚幻的绘画空间，产生一种超现实的感知体验。在观念层面，莱比锡绘画也与西德的新表现主义、抽象和观念艺术泾渭分明。原来的整齐划一的生活形态和带有宏大叙事的政治语境，成为艺术家记忆和反思的对象，新时期的绘画成为他们弥合记忆与现实的通路。
These outstanding paintingtechniques ensure the clear expression of the artists. The style and form placeemphasis on the meaning of figurative and narrative expression. Starting fromevery day imagery, the complex relationship between perspective and compositionis used to present a mixed and open narrative scene, attracting the eyes ofviewers away from reality into the illusory painting space to create a surrealperceptual experience. From a conceptual level, Leipzig painting is distinctfrom the expressionism, abstract and conceptual art of West Germany. Theuniform lifestyle and political context with its grand context became thesubject of the memories and reflections of artists, and paintings of the newera have become the bridge between their memory and reality.
米歇尔·弗里林克《根》 木板油画 81x122cm 2012
Michiel Frielink, the root, oil on pressed wood, 81x122cm, 2012
米歇尔·弗里林克《新世外桃源》 蛋彩画 170x230cm 2017
Michiel Frielink, Das neue Arkadien, tempera grassa on canvas, 170x230cm, 2017
随着一代代莱比锡的绘画艺术家在具象绘画领域的拓展，莱比锡的新绘画已然成为世界艺术中的一处特别的风景。由于疫情原因，这次展览未能全面展示莱比锡新绘画的整体状态。但仍然邀请到了六位出色的艺术家，以此为契机，希望我们能更多更深入的了解正在发展中的莱比锡的新绘画。
Through the expansion of Leipzig artists infield of figurative painting over generations, the new painting in Leipzig hasalready become a special trend in the world of art. Due to pandemic, thisexhibition is not able to show everything about New Painting in Leipzig in itsentirety. Six exceptional artists were invited with the hope that this would bean opportunity for us to better understand the presently developing newpainting in Leipzig.
马蒂亚斯· 威舍《MWE/P 40/00》 纸浆 亚麻布 121x126.5cm 2016
Matthias Weischer, MWE/P 40/00, pulp painting on canvas 121x126.5cm 2016
此次参展的艺术家中，马蒂亚斯· 威舍（Matthias Weischer）的绘画展示了真实与虚幻空间的交错，运用综合材料的质感和层次，将空间和形象转化为抽象化的平面形式，不断实验我们对空间的感知方式。罗莎·洛伊（Rosa Loy）的先生是尼奥·劳赫，作为莱比锡画派中为数不多的女性艺术家，她以其特有的敏感、细腻而丰富的色彩，梦幻的形象，表达了女性的神秘、浪漫与自由的情感。
The artists at this exhibition include Matthias Weischerwho’s art exhibits the interlacing of reality and illusionary spaces by usingthe texture and layers of comprehensive materials to transform space and imagesinto flat abstract forms, and constantly experiments with our perception ofspace. Rosay Loy, whose husband is Neo Rauch, is one of a very few femaleartists of Leipzig school. With unique sensitive, delicate and rich coloringand dreamlike images, her artwork expresses the mystery, romance and freedom offemale emotions.
提洛·鲍姆盖特尔《爆破》 布面油画 150x205cm 2014
Tilo Baumgaertel, Blast, oil on canvas 150x205cm 2014
提洛·鲍姆盖特尔《财产》 布面油画 200x250cm 2017
Tilo Baumgaertel, Property, oil on canvas 200x250cm 2017
提洛·鲍姆盖特尔（Tilo Baumgaertel）的作品将生活中的场景，喜剧化地并置于一个舞台式的空间中，透出一种超现实的诡异感。克里斯多福·胡伯勒（Christoph Ruckhaberle）的画面运用立体几何般的人物造型，赋与纯净的色彩，将身体作为内心情感表达的符号。
Tilo Baumgaertel’s artwork portrays the scenes of life bydramatizing and placing them on a stage-like space giving them a surreal andeerie feeling. Christoph Ruckhaberle's images use three-dimensional geometric shapes of characters, imbuing them with plain colors, and portrays the body as a symbol of expressing inner emotions.
克里斯多福·胡伯勒《无题 3》 布面油画 280x180cm 2009
Christoph Ruckhaberle, Untitled 3, oil on canvas 280x180cm 2009
克里斯多福·胡伯勒《无题 4》 布面油画 210x120cm 2008
Christoph Ruckhaberle, Untitled 4, oil on canvas 210x120cm 2008
亨丽埃特·格拉特（Henriette Grahnert）的作品展示了混杂与抽象，或一种复杂的秩序，表现性的笔触与纯粹的几何构成，让画面空间抽象为情感与理性的交融。米歇尔·弗里林克（Michiel Frielink）的绘画风格结合了荷兰伦勃朗风格的人物传统写实与莱比锡的具象表现主义，使画面充满了戏剧性张力。
The works of Henriette Grahnert exhibitmixed and abstract, or a complex order, expressive brushwork and pure geometriccompositions, making the abstract image spacing into a blend of emotions andreason. Michiel Frielink's painting style combines the traditional realism offigures in the Dutch Rembrandt style with the abstract expressionism ofLeipzig, instilling his paintings with dramatic tension.
亨丽埃特·格拉特《如果没有人看到》 布面丙烯 190x260cm 2014
Henriette Grahnert, If no one is looking, Acrylic on canvas 190x260cm 2014
亨丽埃特·格拉特《斗鸡》 布面丙烯 120x80cm 2015
Henriette Grahnert, Cockfighting screens, Acrylic on canvas 120x80cm 2015
此次展览也旨在致敬中德之间艺术的深刻渊源，以及两个国家文化、经济、生活的密切联系。中德建交50年之际，美好的艺术作品成为我们情感和精神交流的纽带。
This exhibition also aims to pay tribute to thedeep roots of art between China and Germany, as well as the close ties ofculture, economy and life that both countries share. As China and Germany mark50 years of diplomatic ties, beautiful works of art have become a bond ofemotional and spiritual exchanges between us.
现场嘉宾
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