Art|Basel|Hong Kong

Hong Kong

15.03.15 – 17.03.15
Discoveries with Kilian Rüthemann
Booth 1B33, Hall 1

Encounters with Dane Mitchell in collaboration with Hopkinson Mossman

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Kilian Rüthemann|巴塞尔香港艺术博览会


尽可能地发掘、运用各种材料——诸如沥青、盐、脂肪、铁、石膏等,并将其直白、简洁地予以呈现,Kilian Rüthemann创作的作品给观者带来了现象学维度的邂逅。通常意义上的材质的用途、尺寸都已被摒弃,这位年轻瑞士艺术家转而释放这些多元化媒介的固有雕塑属性,对姿势语言予以回应,与此同时,又将实用性升华为情感。

在巴塞尔香港艺术博览会“艺术探新”(Discoveries)展区,Rüthemann将让充满束缚的展位迸发出挑衅、张扬的韵味。八根特大号的锃亮的油画棒(每一根高60 cm,重20kg)将被摆成一排,在未经修饰过的朴素的白色展位环境中得以展示——雕塑也渴求着成为绘画。Rüthemann曾经展出过这些油画棒(使用亚麻籽油、有机脂肪以及诸多颜料制作而成,这一工业模式往往被嘲笑),展出的是涂脏了四周墙面的使用过的残余画棒。而在这次的展示中,他更愿意展出未经使用的画棒,从而赋予博览会观众以更多遐想的空间,任由他们去想像画棒的挥舞者正是他们自己。

为了呼应画棒倚墙而立的形态,还将放置四块手工滚压过的薄钢板,每一块钢板因而成为一个大的圆柱体。这些经由工业流程铸造而成的金属板被取名为《冷轧钢板(Cold Roll)》,这些仿建筑元素足够强大从而能保持其现有形状,与此同时还传递出和金属毫不相干的优雅。两件作品都富有现成的表现力,并使得通常而言被隐匿的制作过程显而易见。正因如此,观众能从中感知到雕塑者的直觉,以及那些乍一看来静滞、坚硬的东西的柔韧性。


Kilian Rüthemann1979年出生于瑞士圣加仑。1997至2001年期间,他于圣加仑Zuzwil学习石雕,2002至2005年期间,于巴塞尔艺术与设计学院学习美术和媒介艺术。他的近期个展包括“RUN Part I / Part II”,Kunsthaus Baselland美术馆,瑞士Muttenz(2015); “Dogworks”,与Fabian Herkenhöner双个展, Part I,德国科隆;“Tools”, Stereo画廊,波兰华沙; “hatch up your troubles“,RaebervonStenglin画廊,瑞士苏黎世(均为2014年); “Fit”,peephole, 意大利米兰(2013)。 其他个展包括“Room for milk - Visionary Collection Vol. 20”,Haus Konstruktiv博物馆,瑞士苏黎世; “PURITANS”,deuxpiece,瑞士巴塞尔;“North to the Future”,C L E A R I N G画廊,美国纽约;“Kilian Rüthemann with Kate V Robertson”,David Dale画廊,苏格兰格拉斯哥(均为2012年);“Target as Frontside” RaebervonStenglin画廊,瑞士苏黎世(2011); “Walking Distance”,不来梅艺术之家,德国不来梅(2010);“Attacca”,Manor Kunstpreis Basel,巴塞尔当代艺术馆,瑞士巴塞尔 (2010);“Double Rich”,Istituto Svizzero di Roma,意大利罗马(2009)以及“Sooner Rather than Later”,格拉鲁斯美术馆,瑞士格拉鲁斯 (2009)。


Kilian Rüthemann at Art Basel | Hong Kong

Booth 1B33
March 15th – 17th 2015

Working with materials found in the world at large — such as bitumen, salt, fat, steel and plaster — and using these in actions of forth-right simplicity, Kilian Rüthemann creates artworks that offer the viewer a phenomenological encounter. Common concepts of use and scale are dispensed with; instead the young Swiss artist allows the innate sculptural qualities of his diverse media to respond to ges-ture, sublimating their functionality into feeling.

At Art Basel Hong Kong Discoveries 2015, Rüthemann presents a booth in which restraint creates provocation. Eight bright outsized paint-sticks, each around 60 cm high and weighing 20 kg, will stand in line in pristine condition surrounded by the untouched white of the booth — sculptures yearning to become paintings. Rüthemann has exhibited such oil bars (made in a mocked industrial fashion out of linseed oil, organic fat and lots of pigment) previously, showing them as stubs already spent in smearing the walls around them. For here he prefers to present the sticks unused, allowing the fair visitor to imagine themselves using them.

Echoing the paint-sticks’ forms, but standing slumped against a wall, will be four steel sheets that have been hand-rolled to form huge columns. Titled Cold Roll after the industrial process used to forge the metal sheets, these pseudo-architectural elements are just strong enough to hold their shape, conveying a delicacy and not normally associated with the metal. Both works possess a ready-to-use expression and make visible the normally hidden processes of production. As such, they invite a sculptor’s instinct from the viewer and reveal that what at first seems static and hard is pliable.

Rüthemann is interested in the poetics of these sticks, in the melancholic expression of lost times implied by their column-like forms coupled with the self-consciousness these supposedly upright elements project. A recurrent motif in his recent work, he has presented such columns as a forest of cast plaster forms on a roof in Athens, as ready- used oil sticks and as palm tree trunks in a winter land-scape. His proposal for Art Basel Hong Kong is a continuation of this investigation, exploring the poetics of this simple yet recurrent architectonic element in the form of the raw materials that produce many of the artworks to be seen at the fair.

Kilian Rüthemann was born in St. Gallen in 1979. He studied stone sculpting at Zuzwil, St. Gallen (1997–2001) and Fine Arts and Media Art at Academy of Art and Design in Basel (2002–2005). His recent solo exhibitions include ‘RUN Part I / Part II’, Kunsthaus Baselland, Muttenz (2015); ‘Dogworks’ with Fabian Herkenhöner, Part I, Cologne; ‘Tools’, Galerie Stereo, Warsaw; ‘hatch up your troubles’, RaebervonStenglin, Zürich (all 2014); 'Fit', peephole, Milan (2013). Further solo exhibitions include 'Room for milk - Visionary Collection Vol. 20', Museum Haus Konstruktiv, Zürich; 'PURITANS', deuxpiece, Basel; 'North to the Future', C L E A R I N G, New York; 'Kilian Rüthemann with Kate V Robertson', David Dale Gallery, Glasgow (all 2012); and 'Target as Frontside', RaebervonStenglin, Zürich (2011); ‘Walking Distance’, Künstlerhaus Bremen (2010); ‘Attacca’, Manor Kunstpreis Basel, Museum fur Gegenwartskunst Basel (2010); ‘Double Rich’, Istituto Svizzero di Roma (2009); and ‘Sooner Rather than Later’, Kunsthaus Glarus (2009).

For further information please contact the gallery at info@raebervonstenglin.notexisting@nodomain.comcom

Hopkinson Mossman from Auckland and RaebervonStenglin from Zurich will show a new work at Encounters by New Zealand artist Dane Mitchell (*1976). 'Fourfold Threshold' is a large floor-based sculpture accompanied by four banner-like ink jet prints on silk of the artist's hand in different poses, depicting hand gestures that according to various mystical belief systems are thought to, with practice, activate certain magical powers.


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