ISBN 978-3-9523767-2-0
目录 CONTENTS 作品 Artworks
8
人为己用： 安德列亚斯·戈尔德大胃口的灵感之源 本画册为 Andreas Golder 个展“我要被崇拜”而出版 2011年1月29日至4月10日展出于中国北京麦勒画廊 北京-卢森 This catalogue was published on the occasion of Andreas Golder’s solo exhibition “I Wanna Be Adored” at Galerie Urs Meile, Beijing-Lucerne, Beijing, China, from January 29 to April 10, 2011
致谢 “Zu Deinem Vergnügen gemalt und gebastelt, meine liebste Henriette. Kuss, liebe Dich, dein A.” 感谢所有为我的作品提供素材的在世或已故的艺术家。特别感谢麦勒画廊 北京-卢森全体工作人员。
Acknowledgements “Zu Deinem Vergnügen gemalt und gebastelt, meine liebste Henriette. Kuss, liebe Dich, dein A.” Thanks to all the dead and undead artists for preparing my works. Special thanks to the staff at Galerie Urs Meile, Beijing-Lucerne.
文: 丁达韦
Eating From Other People’s Plates: The Inspired Appetites of Andreas Golder by David Spalding
22
索引 Index
26
简历 Biography
27
版权 Imprint
28
“我要被崇拜”, 麦勒画廊 北京-卢森, 中国北京, 2011
“I Wanna Be Adored”, Galerie Urs Meile Beijing-Lucerne, Beijing, China, 2011
麦勒画廊 北京-卢森, 中国北京, 2011 “我要被崇拜”, 4
“I Wanna Be Adored”, Galerie Urs Meile Beijing-Lucerne, Beijing, China, 2011
5
麦勒画廊 北京-卢森, 中国北京, 2011 “我要被崇拜”, 6
“I Wanna Be Adored”, Galerie Urs Meile Beijing-Lucerne, Beijing, China, 2011
7
8
9
1
2
3
7
4
5
6
10 11 12
10
8
9
11
12
13
14
detail
16
detail
17
detail
18
detail
19
2
1
4
3
6
5 21
人为己用： 安德列亚斯 · 戈尔德大胃口的灵感之源
Eating From Other People’s Plates: The Inspired Appetites of Andreas Golder
文：丁达韦
by David Spalding
“我要看上几百幅形色各异、反差强烈的画，东拿一点，西取几分，”盎格鲁-爱尔兰艺术家弗朗西斯 · 培根（Francis Bacon）在描 述自己的创作过程时曾说过， “这种人为己用就像从别人的盘子里夹东西吃。”安德列亚斯·戈尔德（Andreas Golder, 1979年生 于俄罗斯艾卡特林内堡，工作生活于柏林）也是这样一位胃口大的艺术家，2010年秋冬之际，他进驻麦勒画廊“艺术家驻地”工 作室，在北京大口吞食各种艺术图码，将不同形式的方法挪为己用，为自身的创作添加养料。为了获得最佳的表达，通晓多种语 言的人可以轻易地在不同语言间转换自如：同样地，戈尔德的创造能力可以使他自由地适应并结合不同的绘画类型和技法，制 造出令人惊奇的成果。戈尔德的创作既在西方绘画史之中，又超越其外，他可以避开任何自我意识的呆板暗示，创作出的绘画和 雕塑自然率直，激情而富有见地。 北京麦勒画廊为戈尔德举办个展，呈现他在“驻地”项目期间进行的多产的创作，展览选用了英国摇滚乐队“硬石玫瑰” （The Stone Roses）1991年一首流行的单曲曲名《我要被崇拜》（I Wanna Be Adored）作为展览标题。戈尔德阴险的混搭策略使得展
“I look at hundreds of very different, contrasting images and I pinch details from them,” the Anglo-Irish artist Francis Bacon once said when describing his working process, “rather like people who eat from other people’s plates.” Andreas Golder (b. 1979, Yekaterinburg, Russia; lives and works in Berlin), the artist-in-residence at Galerie Urs Meile Studio in Beijing during the fall and winter of 2010, is also a man of strong appetites, devouring iconic works of art and appropriating diverse stylistic approaches to fuel his creative output. Like the polyglot who shifts effortlessly between languages in order to select the perfect idiom, Golder’s skill affords him the freedom to adapt and combine various painterly genres and techniques with surprising results. Working within and through the history of Western painting, Golder manages to sidestep any hint of stiff self-awareness, instead creating paintings and sculptures that appear both spontaneous and passionately informed. Taking its title from a popular 1991 single by the British rock band The Stone Roses, I Wanna Be Adored, Golder’s solo exhibition at the Beijing branch of Galerie Urs Meile presents a selection of new works produced by the artist during the course of
览给人的印象直接而强烈，但不能把艺术家的实践视为模仿拼贴的习作，那种内行人的玩笑旨在通过随意的引用他人作品而
his prolific residency. While the exhibition draws its immediate impact from Golder’s sinister mash-ups, his practice cannot be
揭露绘画发展的叙事。与之相反，戈尔德用一种讲究方法的热情将绘画不协调的环境中那些互不搭配、时有残缺的部分织就
characterized as an exercise in pastiche —an inside joke designed to unravel the narrative of painting’s development through
一体，展览中的作品通过强烈的目的明确性和主题统一性缝合在一起。就像弗兰克斯坦制造的怪物，展览中戈尔德画笔下这
arbitrary citation. Instead, Golder has stitched together the mismatched and sometimes maimed parts of painting’s conflicted
些扭曲的脸孔和绝望的女神有着共同的、致命的缺陷：急需被爱。
upbringing with a methodical zeal, suturing together the works in his exhibition with great clarity of purpose and thematic unity. Like Frankenstein’s monster, the twisted visages and desperate goddesses that people Golder’s exhibition share a common, fatal
黑色幽默隐秘地贯穿在戈尔德的新作中，他使用的对象尽管、或者恰恰由于其决然的反抗性，试图勾起我们的欲望，某种程
flaw: they are desperate to be loved.
度上促发了这种黑色幽默的产生。这些对象狂热地渴望被爱，这使得它们更为可悲。展览中的“小肖像”系列（用艺术家本人 的话说）较为典型。画中的人浑身流露着被爱的期冀，坐在戈尔德画布前的他们让人想起互联网上令人作呕的约会网站中张
The dark humor that threads its way through Golder’s new works results, in part, from the fact that his subjects attempt to solicit
贴的资料照片，为了美化形象而制造的发型神气十足，更显愚蠢，无疑是向伤口上撒了把盐。作品《年轻人，二十多岁，寻觅》
our desire, despite or perhaps because of their utter repellence. That they want to be wanted with such ardor makes them that
（Young Man，Mid-Twenties，Seeks:，2010）讲述了一个糟糕到离谱的网络情缘， 《伤心老妇》（Grandma Broken，2010）中的
much more pathetic. The series of small portraits (to use the artist’s turn of phrase) included in the exhibition is exemplary. All
那些老太婆怎么承受得住爱情的变幻莫测。这些离奇怪异的头像展现了一些过往艺术家的风格，比如萨尔瓦多·达利（Salvador
hopeful sinew and gristle, Golder’s sitters evoke on-line profile pictures posted on the web’s creepiest dating site — their jaunty
Dali）和弗朗西斯·培根这两位戈尔德的试金石；但许多形象本身更像大卫·林奇（David Lynch）风靡一时的经典之作《橡皮头》
hairdos a misguided attempt at beautification that only salts the wounds. Titles such as Young Man, Mid-Twenties, Seeks: (all
（Eraserhead，1976）中造型恶心的畸形儿，装着可爱，腻歪地祈求人们的目光。
works 2010) suggest an internet hook-up gone terribly wrong, while Grandma Broken belies the vagaries of romance after 70. This grotesquerie of headshots combine stylistic ticks of artists ranging from Salvador Dali to Francis Bacon, two of Golder’s
戈尔德的雕塑作品为铜塑半身像，一如从画布上直接跳到画廊的空间里（艺术家本人也确实把它们称作3D绘画），让人联想起
touchstones, but many of the figures themselves are as cuddly and as cloyingly needy as the revolting, mutant baby in David
恐怖电影里拖步而行的半腐僵尸。雕塑的底座与眼平行，灰色的头像伫立其上，恶棍般地排列在画廊里迎接观众，你若想要往
Lynch’s cult classic, Eraserhead (1976).
返于展览的各个空间，就不得不在这之中穿梭而行。这些雕塑将展览转化为一种完全身临其境的体验，观众无法与戈尔德的 创作保持任何舒适的距离。
Golder’s sculptural works, bronze busts that seem to have leapt directly off the canvases and into the gallery (indeed, the artist calls them 3-D paintings), are reminiscent of the half-decayed zombies that shuffle through horror movies. Perched atop plinths
22
展览中的五幅大型油画作品或多或少都是基于西方艺术史的经典作品创作而成，如提香的《维纳斯和阿多尼斯》（Venus and
at eye-level, the grizzled heads form a rogues gallery receiving line that visitors must traverse as they move between the exhibi-
Adonis，约1555-1560年）和鲁本斯的《帕里斯的裁决》（The Judgement of Paris，约1632年），这些作品中的对象都受到了戈
tion’s linked spaces. The sculptures transform the show into a fully immersive experience that refuses the viewer any comfortable
尔德典型的类型糅合手段的对待。提香和鲁本斯的画表现的是希腊神话故事中讲述的希求他人的欣赏所带来的危险。 《帕里
distance from Golder’s creations.
23
斯的裁决》被各个时期不同的艺术家包括拉斐尔、塞尚等等阐释过，画作描述的是女神朱诺、密涅瓦和维纳斯给帕里斯出难
The five large-scale oil paintings on view are all loosely based on canonical works from Western art history, such as Titian’s
题，让他选择哪位女神是最美的。这是个可怕的任务，而维纳斯告诉帕里斯，如果选择她是最美的，就会将世界上最动人的女
Venus and Adonis (ca. 1555 - 1560) and Rubens’ The Judgement of Paris (ca. 1632), their subjects reworked with Golder’s
子海伦许配给他。最终维纳斯荣冠花魁，但她的礼物却是致命的毒药，帕里斯绑架海伦最终引发了特洛伊战争。
typical genre-bending finesse. These paintings refer to Greek myths whose narratives underscore the dangers of longing for the admiration of others. The Judgement of Paris, which has been interpreted by artists ranging from Raphael to Cezanne,
与鲁本斯处理相同对象的方法不同，在戈尔德的画里，没有人是无辜的：三位女神臃肿肥胖的身躯鲁钝地站在帕里斯面前，赤
depicts Juno, Minerva and Venus as they pose for Paris, who is charged with the terrible task of choosing which goddess is
裸而屈辱，试图撩拨起帕里斯的情欲。帕里斯在故事的传统版本中是世界上最美的男子，但戈尔德画笔下的帕里斯却是一只疯
the loveliest. Venus tells Paris she can offer him Helen, the most beautiful woman in the world, as his bride, in exchange for
狂的红色野兽，拖着淫荡的石头，带着饿狼般的微笑，珠子一般的眼睛隐藏在眼镜后面，无疑透露出其窥伺的本质。 《帕里斯
the prize. Based on this promise, Venus claims the title, but her gift is poisonous, as Paris’ kidnapping of Helen ultimately
的裁决》重申了展览的主题，完美实现了戈尔德的目标，告诉人们欲求得到别人欣赏的自大和攀比会带来什么样的悲剧。虽然
causes the Trojan War.
戈尔德新作中的很多形象都是怪异悚然的，但它们希望得到我们的钟爱，这其中反映出的问题是永恒的，是作为人的我们必须 认识到的。
Unlike Rubens’ painting of the same subject, here no one is innocent: the goddesses’ corpulence is bovine as they stand, naked and humiliated, hoping to titillate Paris. If, in more traditional versions of the story, Paris is said to be the world’s most handsome man, Golder’s Paris is pure id, a frenzied red beast with lecherous tongues, the smile of a hungry piranha, and beady, bespectacled eyes that only highlight his voyeuristic nature. Reiterating the exhibition’s theme, the story of The Judgement of Paris
翻译：苏伟
is perfectly suited to Golder’s purposes, demonstrating how a clash of competing vanities, fuelled by the desire for adoration, can set a tragedy in motion. Yet while many of the figures in Golder’s exhibition appear monstrous, their wish for our affection reflects an enduring condition that we must recognize as entirely human.
24
25
ANDREAS GOLDER
索引 INDEX P. 8
P. 14-15
“Sad Love Song” 2011 oil on canvas, 200 x 300 cm
“Teenage Wet Dream” 2010 oil on canvas, 300 x 600 cm (3 parts)
P. 9
P. 16-19
“Muss i denn zum Städtele hinaus” 2010 (Do I Have to Go out to the Boonies) oil on canvas, 200 x 300 cm
“Teenage Wet Dream” 2010 details
P. 10-11
P. 20-21
1 “I Don’t Like My Face” 2011
1 “Boiling Point”, 2010, edition of 2
oil on canvas, 50 x 40 cm 2 “Hole” 2010
oil on canvas, 50 x 40 cm 3 “Alter Sack” 2010 (Old Fart)
oil on canvas, 50 x 40 cm
bronze, 36 (H) x 31 x 29 cm 2 “Chopped In Half”, 2010, edition of 2
bronze, 36 (H) x 25 x 28 cm 3 “Final Thoughts” 2010, edition of 2
4 “I Am in Pain”, 2010, edition of 2
5 “Paranoia in China” 2010
5 “See Me Now”, 2010, edition of 2
6 “Haare” 2010 (Hair)
oil on canvas, 50 x 40 cm 7 “Man with Blue Nose” 2011
oil on canvas, 50 x 40 cm 8 “I Want to Spend the Night with You!” 2010
oil on canvas, 50 x 40 cm 9 “Oma kaputt” 2010 (Grandma Broken)
oil on canvas, 50 x 40 cm
born in Yekaterinburg, Russia lives and works in Berlin, Germany
Selected Solo Exhibitions 2011 2010 2009 2008 2007 2006 2005 2004
“I Wanna Be Adored”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China “Andreas Golder: Visual Pollution”, projectroom Aftergallery, Moscow, Russia “Come Back – Per asperam ad astra”, LARMgalleri, Copenhagen, Denmark “Andreas Golder: Things will not get any worse”, The 1st Ural Industrial Biennale of Contemporary Art, Yekaterinburg, Russia “Da steckt ganz viel dahinter”, Arndt & Partner, Berlin, Germany “Surgite mortui venite ad Judicium”, White Cube, London, UK “It has my name on it”, Arken Museum, Copenhagen, Denmark “satt # 2”, powered by emotion, Klara Wallner Galerie, Berlin, Germany “satt # 1”, powered by emotion, Klara Wallner Galerie, Berlin, Germany “Andreas Golder”, Klara Wallner Galerie, Berlin, Germany “Andreas Golder”, Engler & Piper, Berlin, Germany
bronze, 37 (H) x 26 x 25 cm
4 “Der Typ unter deinem Bett” 2011 (The Guy Under Your Bed) oil on canvas, 50 x 40 cm oil on canvas, 50 x 40 cm
1979
bronze, 37 (H) x 30 x 25 cm bronze, 35 (H) x 30 x 33 cm 6 “Slowly We Rot” 2010, edition of 2
bronze, 40 (H) x 30 x 28 cm
Selected Group Exhibitions 2009 2008 2007 2006 2005 2004
“Edition Copenhagen – Retrospective 1959 – 2009”, Den frie udstilling, Copenhagen, Denmark “Forgotten Bar Project”, Galerie im Regierungsviertel, Berlin, Germany “something new pussycat? ”, Klara Wallner Galerie, Berlin, Germany “MAD LOVE – Young Art from Danish Private Collections”, Arken Museum, Copenhagen, Denmark “Update 07”, Galerie Gmyrek, Düsseldorf, Germany “At Home”, curated by Mario Testino, Gallery Yvon Lambert, New York, USA “Artnews Projects presents Rio”, Artnews Projects, Berlin, Germany “With peppermint you are my prince”, Gallery Swap, Klara Wallner Galerie, Galleri Christina Wilson, Copenhagen, Denmark “Paint-O-Mania”, Neue Malerei aus Deutschland, Stadtgalerie Kiel, Kiel, Germany “Die schöne Nacht im Liebeskraut”, Kampagne, Berlin, Germany “Fraktale 4”, Palast der Republik, Berlin, Germany “Temporary Import”, Art Forum Berlin, Berlin, Germany “1st Berliner Kunstsalon”, Berlin Liverpool Biennale Independents, Liverpool, UK
10 “Internet Date” 2011
oil on canvas, 50 x 40 cm 11 “Mädchen verärgert über Taube” 2010 (Girl Ruffled over Pigeon)
oil on canvas, 50 x 40 cm 12 “Junger Mann, Mitte zwanzig sucht:” 2010 (Young Man, Mid-Twenties, Seeks:)
oil on canvas, 50 x 40 cm
P. 12 “Sexy Painting” 2011 oil on canvas, 200 x 300 cm P. 13 “Purple Rain” 2011 oil on canvas, 200 x 300 cm
26
27
出版：麦勒画廊 北京-卢森 编辑：麦勒画廊 北京-卢森 文章：丁达韦 翻译：苏伟 (中) 校对：申彤（中） 设计：李建辉 摄影：Eric Gregory Powell © 2011 麦勒画廊 北京-卢森, Andreas Golder 未经出版人的书面许可, 本书所有内容不可用于任何形式及目的, 包括但不限于图片复印、抄录或其他信息存储及文字转换的复制及传播。 印刷：中国北京
Publisher: Galerie Urs Meile, Beijing-Lucerne Editor: Galerie Urs Meile, Beijing-Lucerne Text: David Spalding Translator: Su Wei (C) Copy Editor: Anya Shen (C) Designer: Li Jianhui Photography: Eric Gregory Powell © 2011 Galerie Urs Meile, Beijing-Lucerne, Andreas Golder All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, including but not limited to photocopying, transcribing or by any information storage and retrieval system, without written permission from the publisher. ISBN-13: 978-3-9523767-2-0 Printed in China
麦勒画廊, 北京市朝阳区草场地104号, 邮编 100015, 电话 +86 10 643 333 93 Galerie Urs Meile, No. 104, Caochangdi, Chaoyang District, Beijing, PRC 100015, T +86 10 643 333 93 Galerie Urs Meile, Rosenberghöhe 4, 6004 Lucerne, Switzerland, T +41 41 420 33 18 galerie@galerieursmeile.com, www.galerieursmeile.com