彼得・辛默曼:油畫 Peter Zimmermann: Oil on canvas

展覽時間 Duration:2016 年 5 月 15 號至 2016 年 6 月 26 號

開幕茶會 Opening Reception:2016 年 5 月 15 號 19:00 - 21:00

開幕座談 Artist Talk:2016 年 5 月 15 號 19:15

藝術家 Artist:彼得・辛默曼 Peter Zimmermann

地點 Venue:台北市中正區金山南路一段67巷5號1樓 No. 5, Lane 67, Section 1, Jinshan South Rd, Zhongzheng District, Taipei 

關於展覽 彼得・辛默曼:油畫

「假如我活在百年以前,可能會畫些鄉間風景,但處於我們現在的這個時代,關於你所認知的世界,都是從電視或電腦螢幕上得知的。」 - 彼得.辛默曼

十多年前,當「後網路藝術」一詞尚未出現完整定義時,辛默曼已開始運用新技術編輯圖像,確立其抽象繪畫的結構組成。在數位科技作為資訊傳播媒介的情境下,人類對於來自各種螢幕所提供的資訊,恐怕很難逃離認知失真的命運,而這也是辛默曼期望藉由作品去探討的。創作過程中,辛默曼雖然不斷嘗試新媒體工具,卻非單純實踐新媒體藝術,而是將新媒體作為重塑繪畫的中介,發現另種別於傳統的新途徑。因此,辛默曼創作的藝術方法論在後數位化繪畫美學裡,有著極為複雜的角色。作為一個具備科技前瞻性的藝術家,辛默曼更持續不斷探究繪畫的實在定義,試圖闡明廿一世紀數位時代下的視覺邏輯。

綜觀現代與當代藝術史,傳統對於繪畫的理解已經有所轉換,變得更與創作過程、現場感知相關。在這次展覽中,辛默曼從根本改變空間,以環氧樹脂製成地板尺幅的抽象繪畫,使得這面地板不單是件作品,更是人人都能穿梭行走的空間裝置。除了觀看與欣賞作品外,他也期望每位觀者都能成為作品的一部份,或站、或坐、或走都是觀眾與作品的對話。另一核心焦點則是辛默曼兩種創作方式的抗衡與對話,一是巨大的地板作品,一是群集展演於牆面的油畫系列。油畫系列採用不同的技術與媒材,但與先前創作有著相似的概念與製作過程。暫且不論兩者使用媒材的差異(油彩/環氧樹脂),油畫上的抽象圖形讓人難以察覺其創作過程曾有科技的介入,但兩者皆是辛默曼利用圖像軟體操作、把玩個人/匿名者圖片製成,這些原始資料可能來自網路,或是掃描/印刷的文件檔案。而在接近創作過程尾聲時,這些圖像成為全新的流動線條與形狀,轉換過程是極為魔幻與神奇的。即便利用軟體為原始圖片添加效果不難,但究竟應該選擇哪些圖片作為原始素材、應該將圖片「抽象」到哪一程度,就全賴藝術家的謹慎與經驗。藝術家與數位科技間煞費苦心的對話,也使得製作過程能和作品的文本與論述產生直接連結。

The artistic methodology of Peter Zimmermann’s artworks plays a complex role of post-digital aesthetics in painting today. A technologically forward-thinking artist, who continuously approaches painting from a theoretical standpoint and contemplates what defines painting today, Zimmermann picks up on the logic of twenty-first-century digital visual thinking: If I would have lived 100 years before, I would paint landscape, but now in our times, everything you know about the world, you know either from television screens or on computer screens. That’s how the world gets into your brain. This straightforward logic of what is to be painted provides insight to Zimmermann’s free-wheeling and clear approach. More than a decade ago, when the recent term “post internet art” was not yet coined, Zimmermann was working with emergent technologies that allowed him to edit images and to determine the composition and abstraction of his paintings. For this particular process, he has been utilizing the tools of new media art, but not necessarily practicing new media art. Rather, he is reinventing the medium of painting in his own terms, finding a new way of looking at this traditional practice. In this exhibition he proposes to not only look at a painting, but to actually be part of it.

Throughout modern and contemporary art history, the traditional understanding of painting has shifted; becoming more process-related, more sculptural and site-aware. In the exhibition, Zimmermann radically transforms the museum space into a single work in which the floor becomes a canvas and the exhibition ground turns into a massive spatial painting. The large-scale floor piece, created in situ for the exhibition is not only a painting, but a room installation one can walk through. In order to experience the exhibition in its entirety, the audience is not only asked to look at the painting, but to be an embodied part of it. Simple actions like walking, sitting and standing implicate viewers as integral components in the experience of the work. The epicenter of the exhibition is the confrontation of two distinct bodies of work. One monumental floor piece, created in situ for the museum’s space, and a series of recent wall-based oil paintings will be exhibited together for the first time in such a constellation. The wall paintings depend on a similar process in creation of their formal compositions, but require different techniques and material. Regardless the difference in material (oil paint / epoxy resin), the abstract shapes in the paintings are composed in a way that the technological background process can be subtly understood. In both cases, Zimmermann uses image software techniques to manipulate and play with personal or anonymous images from his visual archive. These initial digital images are either found online or scanned and printed material. At the end of the artistic procedure, they have new shapes as they blur and create new fluid forms. There is something curious and magical about this process of creating compositions. The method of abstraction is a pure function of the software, but the degree of abstraction and the image selection are the artist’s own careful decision; a painstaking yet conversational collaboration between painter and computer. The artistic process is closely linked to the context of the work.