『欧洲艺术家展览系列』，是Du/laboratory以主题性策划发布的一个推送。我们将分享艺术家的艺术实践和展览。Du/laboratory后续也会发布不同主题性推荐。

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艺术家：Amelie von Wulffen

画廊：Galerie Meyer Kainer, Vienna
展览时间：April 8 – May 21, 2022

在 MEYER*KAINER 画廊的第四次展览中，Amelie von Wulffen 引用了她在 KW 当代艺术学院的大型个展柏林（2021 年），艺术家为此创作了出色的整体绘画装置和作品一个由拟人化物体拼贴贝壳人物组成的充满创伤的奇珍异宝室木头和彩绘底座上的苔藓，底座中央站着一个男人高的“大便人”，提着一个腰包（无题2020），蜜蜂玛雅坐在地板上，尿裤子——黄色的小便反映在蜜蜂雕塑的条纹上，也反映在背景抽象画上的几何图案上。一个与艺术和金钱有关的心理隐喻。但它也是一种被压抑的生物性和死亡的象征。自古以来，蜂巢显然也是一种象征性别分工、性别差异、同居婚姻家庭、家庭问题的自然秩序。

In her fourth exhibition at galleryMEYER*KAINER Amelie von Wulffen quotesfrom her extensive solo exhibition at KW Institute for Contemporary Art Berlin(2021),for which the artist created a brilliant overall installation ofpaintingsandobiects.A traumatic chamber of curiositiesconsisting of anthropomorphic object collagesshell figures wood,and moss on painted plinthsin the center of which stands a man-high“turd man”with a fanny bag (untitled2020)and Mava the Bee sitting onthe floor and peeing her pants-yellowpisswhichis reflected in the stripes of the bee sculpture andalso in the geometric pattern on the abstract painting in the background.A psychological metaphor related to art and money.but it is also a suppressedindication of creatureliness and mortalitySinceantiquitythe beehive has also been a symbol of an apparently natural order in questions of gender-specific division of tasks, gender differenceliving together marriage household, and family.

Bernsteinzimmer und Biene Maja2019-2020

梦与玩笑的狂野结合，潜意识与被压抑
主观的和客观的，政治的和艺术的。相互平衡，反映艺术家自己的参与。除了众所周知的社会和艺术史主题外，新创作的画作还关注童年和家庭的深渊维度，因此冯·伍尔芬反复将她自己的家庭编年史与国家（德国）历史“布朗”联系起来家庭和流派场景在一个伪浪漫的乡村田园诗中遇到来自艺术史的冰淇淋口味如 MagnumCornetto&Co 的场景，这些场景永恒触发了孩子般的替代满足感。

A wild combination of dream and jokein which the unconscious and the suppressedthe subjective and the objectivethe political and the artistic, balance each other and reflects the artist's own involvement. In addition to well-known social and art-historical themesthe newly created paintings focus on the abysmal dimensions of childhood and family, whereby von Wulffen repeatedly links her own family chronicle with national(German)history"Brown undertones family, and genre scenes in a pseudo-romanticrural idyll meet set pieces from art historyIce cream flavors such as MagnumCornetto&Co frame the scene timeless triggers for childlike substitute satisfaction.

《无题》，2019，布面油画，

Amelie von Wulffen 无题2020 胶合板上油彩陶瓷壳镜子银亚克力、苔藓和纸-mâché60x120x505cm

Verwandtschaft/groß2022布面油画190 x 220 厘米

自 1990 年代以来，Amelie von Wulffen 创作了一套复杂而独特的作品，提出了关于绘画的历史、经济和社会状况的问题，同时以高度自我反省的方式进行。这也延伸到艺术家本人的形象，她一次又一次地以不同的形式出现在她的作品中，经常将她的个人家庭编年史与国家历史和关于文化特别是德国遗产的存在问题联系起来。在冯·伍尔芬的画作中，审美矛盾被刻意对比，来自艺术史和爱好艺术的各种绘画风格交织在一起，与之相关的重量被欲望地重新分配。在这种背景下，她的作品似乎是对战后德国与当前流行和政治文化的审美矛盾的元反映，其中艺术家还提到了家具和建筑布景等艺术和手工艺。

就像伍尔芬斯早期的照片周期一样，她的新照片也处理了有时糟糕透顶的家庭维度，作为一个沉重的问题和压抑的事物与爱和文化一起传递的地方。这些作品通过告别父母的维度变得特别情绪化。新的小型雕塑被放置在一个场景化、绘画风格的装置中——一种戏剧性的好奇协商了人与自然之间的关系，即使在环境彻底破坏的时候，这种关系仍然由浪漫的风景和自然投射决定。这些新作品伴随着艺术家精选的现有绘画、素描、家具、雕塑、电影等。

Since the 1990s, Amelie von Wulffen has developed a complex and idiosyncratic work that raises questions about the historical, economic and social conditions of painting, while proceeding in a highly self-reflective manner. This also extends to the figure of the artist herself, who appears again and again in different forms in her works, often linking her personal family chronicle with national history and existential questions about a cultural and specifically German heritage. In von Wulffen's pictures, aesthetic contradictions are deliberately contrasted and various painting styles from art history and hobby art are interwoven, with which their associative weight is lustfully reassessed. Against this background, her work appears as a meta-reflection of the aesthetic contradictions in post-war Germany and current pop and political culture, in which the artist also includes references to arts and crafts such as furniture and architectural set pieces.

Like earlier picture cycles by Wulffens, her new pictures also deal with the sometimes abysmal dimensions of family as a place where leaden problems and repressed things are passed on alongside love and culture. These works become particularly emotional through the dimension of the farewell to the parents. New small sculptures are placed in a scenographic, painted genre installation – a kind of dramatic chamber of curiosities negotiates the relationship between man and nature, which is still determined by romantic landscape and nature projections even in times of total environmental destruction. These new works are accompanied by selected existing paintings, drawings, furniture, sculptures and films by the artist.