彼得・辛默曼:繪畫

Peter Zimmermann: Painting

 

時間:2015年3月21日至5月17日 Date: 21 Mar. - 17 May, 2015

開幕茶會:2015年3月21日日下午一時 Opening Reception: 21 Mar., 2015 13:00

地點:路由藝術 Venue: NUNU FINE ART

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文/Andrea Madesta (奧地利克恩頓當代美術館總監)

德國藝術家Peter Zimmermann的作品和諧中性地融合了科技的理性與生命的感性,他運用電腦科技的邏輯表達他的圖像概念。不過其光滑的曲線和繽紛的色彩成功地模仿了人工的形式,讓多數人誤以為這些圖像是藝術家自主搭配創作的,但它們實為數位隨機組合而成,就像是一台專門印製未來派畫作的超級影印機所印製的。當然,我們仍不難從作品繁複的表面質感發現其是由電腦製作的線索。可是他多層次而密集地顏色,完整展現人工樹脂質感的純熟技巧,這些又非單單透過數位媒體就可以達到的成果。

電腦在過程中扮演着事前準備的工具,科技只作為繪畫時的輔助用。與錄像藝術、攝影、影片等作品類型不同,Zimmermann作品最終的成果從任何方式來看都不能稱之為數位藝術。從調和顏色及圖形的過程是完全透過藝術家的獨自在畫布上完成的這點就足以證明。儘管圖形的結構是經由電腦運算出來的模板,藝術家個人的美學創作能力讓作品存留藝術家的個人意志。最讓人敬佩且讓作品成功的關鍵是,經由電腦處理過的圖像結構,當在畫布上呈現時竟能保有藝術家原有的繪畫質地-作品表面流動的觸覺質感是因為藝術家一層一層的加疊上媒材才創造出來的,人工樹脂的透明性為層層色彩暈染出一片虹霓,也讓觀賞者看清楚每個層次間的微妙變化。這樣一個將數位圖像轉化到繪畫領域的過程,讓虛擬影像重新回歸到現實而存在,即為回歸物質性的存在。物質和視覺圖形應是同時存在的,這也是區別繪畫、攝影及電腦影像的差異,意即電子檔案、數位化過程中所產生的摩擦在這系列作品中並不成立,電腦影像無法呈現的真實存在感在這些作品中依舊展露著他們的美。藝術家在作品中所實行的即是自我的客體化,若要實現客體化的想法,那麼,將概念和執行分開是必要的先決條件。“反物質”的程序(將圖像經電腦處理)就像是科技與文化間的互動,讓主觀的群體在兩者的拉扯中,以身為客體的新視角看到社會價值的另一種可能。所以,這系列作品的圖像語言精確地掌握到這時代的特性。當科技軟體的思維在現下的觀賞者腦中已成為常識,這些作品中極富數位感的抽象語彙必然能輕易地和當代觀眾產生連結,這些觀眾會預設這類看似數位性的創作具有某種特定的樣貌和近似的創作方式,然而Zimmermann卻出乎意料地全以手作技法去調和人工樹脂的顏色和形狀。除了展現藝術家本身卓越的技巧外,這樣的創作過程也另外質疑了一件事,即在這時代中是否還存在全然客觀的觀賞者,能以圖像的本質去與作品溝通?

另外,「圖像能被控制」的想法總被多數人接納,但這樣的圖像思維無法真正呈現現代數位在不論是技巧上或是概念上所擁有的改變跟延展的可能性。這些電腦影像不只是數位化下的產物,也是根據人性心靈發展出來的虛擬想像。觀眾從這些如夢如幻的影像,辨認出似曾相似的畫面場景,透過認可將自己也變成了影像的一部分,這是一個觀者和作品之間的循環交流。Zimmermann的空間裝置walk-in就是為了體現這樣的感官經驗。電腦軟體的搭配是建構作品立體設計的基礎,虛擬的設計工具給與作品更大的空間發揮想像,工業性的製成媒材卻富含藝術性的思維。Zimmermann手工和科技取樣的結合,可以說是現代泛文化內容面對科技技術躍進處境下的縮影,一個兩者相互反饋融合的發展。現今人們對於藝術的了解和藝術家的角色都因當代科技的演進和溝通方式的轉變有了十足的變化,Zimmermann瞄準了這點,堅持以手工技法對抗虛擬圖像,讓完美無瑕疵的曲線構圖以手作方式再現時依舊保持數位的完美。兩項元素並行的創作核心或許是相當貼近未來趨勢的樣貌。

Peter Zimmermann獨樹一格的風格站在所有去個人化、規模化製造的對立面,以一貫如轍的理念實踐而不盲從變化不斷地環境條件,造就他獨特的創作風貌,並在現代社會的發展下自然地跟科技合流。最終,Peter Zimmerman堅持手作的行為不是為了反抗現代科技,而是以一個自適的姿態接納新時代的生活方式與思維而不迷失自我本質。融合眾多數位和手作技法,Zimmermann的作品展現他在兩個領域的駕馭能力,帶領我們看到一種新形態的混種美學。

Text / Andrea Madesta                                                                  Director of Museum Moderner Kunst Kärnten (MMKK)

Zimmerman's painting represent a medial compositionality. The concept of the image follows the logic of the computer and technology;It's digitally produced,whereas its implementation appears to be hand-made, indeed doubly so:in the shimmering polish and the glowing colors of the surface,a form of artificiality is simulated,which make the motifs in the compositions appear as though prints of a futurist super printer.However ,the opulent,sensual materiality of the surface makes it evident that we are dealing with a computer-generated product. In the intensely colorful,layered,plastic character of the compositions, a quality emerges,which cannot be achieved via digital media.

The technological application of the computer serves the sole purpose as a preparatory instrument, ultimately as a aid to painting.By comparison with photography, network, film or video art, the finished picture is by no means a media art.The production is not by means of a machine but through the hand of the artist who successively apples the colors to the canvas. By stressing this particular, it is by no means a case- as is true of jackson pollock-of turning the subject of the artist in to a fetish. The application of paint is a characteristically skilled enterprise and the structure of the painting reside in the predetermined conception of the stencil shapes. What is more decisive however is the fact that the artistic picture retains its genuine painterly quality through the transference of the digital, computer-generated motif onto the the canvas:the object character of the canvas, the relief-like,almost haptic quality of the surface made up of layers of paint, the specific, intense sheen  of epoxy resin the extensive transparency of the iridescent  layers of color, as well as their incremental construction. By means of the transference into the realm of painting, the computer images regain the very thing that all images lose when when transferred in to virtual - namely materiality; and that means the material"co-presence" of all pictorial points that distinguish painting and photography from screen images: this friction loss of electronic storage and digitalization is evidently suspended in the case of the tactile object that is a painting. The beautiful image that computer simply cannot bring about remains resplendent as a unique specimen.

The separation of concept and implementation is the prerequisite of a conceptual understanding of art based on  "objectivisation" and which renders the artist anonymous to a large extent.The production of subjectively stops being am instrument of social control and becomes directly productive, targeting  the construction of consuming -conmmunicating subjects, who are themselves"active". This immaterialisation of production thorough the interplay of computerization and culturalisation creates in the best case new subjectivities and collectives that are able to recognize possibilities for a social practice in the altered situation, which might be more than the mere affirmation of neo-liberal world order. Within the framework of their pictorial strategies, Zimmerman's paintings represent the predominant zeitgeist. Computers and the possibilities inherent in software programs form a common denominator connecting the technically-minded audience with the artist. The consumers of popular visual culture command an essential competence when using media. In today's  media society the question is justified as to whether there is such a thing as a "naive" consumer of an image.

The fact that images are manipulated is now generally accepted  as a received wisdom. A traditional pictorial concept oriented towards painting could not appropriately represent the potential of the computer image. The release from its social and technical conditions of production elevates the disposability and malleability of the image. What is meant here is not merely digitalized images, bit also images emanating from the psychic order of the imagination. Individuals can identify with these phantasmical images in order to become images themselves, which can be circulated unfettered by the materiality of the body. The experience is immediate in Peter Zimmerman's walk-in, spatial installation.

Computers and the possibilities of software form the basis for design and production of three-dimensional objects. Virtual sculpturing permits the completely free design of a virtual body with virtual tools. The idea of an industrial object is produced in artistic simulation. In the concrete act of looking, this regeneration in turn the impulses of nerve cells of a living subject and thereby produces an aesthetic authenticity. The combination of the hand-made and sampling of sections can also be perceived in a pan-cultural context as a spontaneous open reaction to leaps in technical innovation, which take place with increasing rapidity and in whose wake enormous insecurity is unleashed in society. Evidenced in Peter Zimmerman's artistic practice and duly integrated into his designs are not merely the new technologies and their effects upon artistic production, but also those new conditions of production they engender. Without doubt a lasting shockwave in the understanding of art and thereby the role of the artist has resulted from the development of digital technology and means of communication. Zimmerman's react with all the means of at his disposal within the manifestly unstable relationship between technology and art-with design experiments, which on the one hand pitch the hand-made against the virtual and which transform the immaculately smooth form of digital production into an immaculately smooth mode of painting. His hybrid design concept naturally combines the handcrafted with digital elements- an approach for the future perhaps?

 The unique specimen readily stands out against the impersonal. Industrial mass production and artistic quality is assurance in view of permanently changing conditions, which are interpreted anew and differently today - as the definition of a whole generation's position, which self-evidently has recourse to digital technology. Thus we are not essentially dealing with an oppositional attitude to digital processes inspired by handcrafted expertise in the case of this artistic process.On the contrary: the application of the purely handcrafted technique and industrial high-tech processes in Peter Zimmerman's art ultimately to a new hybrid aesthetic.