【今日预告】迪特?坦茨纳：消隐 今日美术馆 今日美术馆

微信号 today_art_museum

功能介绍 每周尊送今日美术馆最新展览、艺术教育活动等信息，引领北京CBD地区的艺术时尚生活。今日美术馆成立于2002年，中国第一家民营非企业公益性美术馆，一直致力于推动中国当代艺术的发展，以其现代性视野、国际化平台、规范化运营，力求探索一条适合中国民营美术馆的发展之路。

迪特?坦茨纳：消隐

策展人：李振华

主办单位：今日美术馆

协办单位：德意志共和国驻华大使馆

开幕时间：5月10日，4:00pm

展览时间：5月9日-26日

展览地点：今日美术馆1号馆3层

展览简介

在《尼各马可伦理学》书的最后，亚里士多德探讨了幸福的定义。他发现，完美的幸福即沉思。他的论证如下：幸福只能存在于某种形式的行为活动，而我们的动机才反映了真实的自我和最高美德。我们的行为都是遵循一定动机的，而产生这些动机的过程就是沉思。但什么是沉思，这其中的可敬之处又指什么呢？这其中包括心怀敬意地汲取某个事物的力量与优势吗？例如, 对于一个概念来说，我们是所见即所得？还是说，我们要通过不断挖掘这个概念，才能达到对现实的深刻理解呢？

无论哲学还是艺术史的研究中，这两种方法都已被前人尝试过了，而且这些研究还在不断地持续。从文艺复兴至今，这两种方法都曾被其支持者们所推崇。毫不意外的是，之后，文艺复兴本身也成为了讨论的对象。毫无疑问的是，文艺复兴的特点之一就是注重艺术家的内在理念。绘画和雕塑的作品不再是单纯地对现实事物的模仿，而成为了一种对艺术家的想法的解读。甚至可以说，外在的表现形式并不重要，艺术只关乎于思维的表达。与事物的相似程度只是画面的外在形式，而创作的目的并不是创造出多么遵循现实的作品。如果非要说文艺复兴时期的艺术比哥特艺术更贴近实际的话，那是因为文艺复兴时期人们观察事物的角度更纯粹，从而缩短了艺术作品与现实的差距。对我来说，这种对沉思的中立性解读是与Dieter Detzner 的作品沟通的关键。而Paul Klee 的话可能是对这种理解方式的绝佳解读：“艺术不是再现可见的事物，而是表达可见性。” 绘画或者雕塑仅仅是一个参照，这与事物或者图形是具体还是抽象并无太大关系。甚至抽象可能是更好的表现形式，因为它减轻了个人经验所带来的影响。因此，艺术并不仅仅是开启新天地的那束光，艺术更让我们了解，沉思可以把我们带入一个怎样的维度。

——Michael Renemann

部分作品

Jacopo，116x150x150cm，有机玻璃，2008

Jean，125x170x28cm，有机玻璃，2008

Paul，256x456x25cm，有机玻璃，2008

Robert，160x160x90cm，有机玻璃，2006

艺术家简介

迪特?坦茨纳，1970年出生于德国，现工作生活于柏林。他的作品通常与空间密切相关，并且在欧洲举办过多次个展和群展。1995年，他在柏林Neu 画廊举办的个展，获得了非常多世界级别的关注。之后，在欧洲还有世界各处有过很多次成功的个展。2009 年，他参加了巴黎FIAC 艺术节。2010 年，他在巴塞尔艺术博览会中举办了个展。2011 年，他的作品参加了柏林画廊艺术周的展出。2014 年，他于柏林和法国马赛尔举办了最近的一场个展。

Dieter Detzner: Absense

Curator: Li Zhenhua

Organizer: Today Art Museum

Co-Organizer：Vertretungen der Bundesrepublik Deutschland in derVolksrepublik China

Opening：4pm,May 10

Duration: May 9 - May 26，2015

Venue: 3/F Exhibition Hall of Building 1

Exhibition Profile

At the end of the Nicomachean Ethics, Aristotle examines what happiness is. Perfect happiness, he finds out, is a life of contemplation. His proof is as follows: Happiness can only consist in some form of activity, and reason is our true self and the highest virtue in us. Thus, the activity concerned has to flow from reason. And the specific activity of reason is active contemplation.But what is contemplation, and what does its specific dignity consist in?Does it consist in exerting its power and superiority with respect to the object, for example by saying that what appears to us is the only thing which has reality, and that the thing in itself is just a limit concept, but not a real object? Or in a continuous exploration of its relation to the object, in becoming more and more neutral, thereby achieving higher insights and a deeper sense of reality? Both options have been tried out in philosophy as well as in art history, and they continue to be explored. Each option is regarded by its advocates to be the provisional culmination of a historical development which starts from (and is possibly founded in) the Renaissance. Not surprisingly, then, the character of the Renaissance itself is also subject to lively debate. There is agreement on the fact that the Renaissance is characterized by an emphasis on the artist’s inner conception. The production of a painting or a sculpture is no longer understood as a mere act of imitating an external object, but primarily as the unfolding of an inner idea of the artist. To be more precise, one would even have to say that the depiction plays no role at all and that the work of art is only the matter for a mental form. The similarity of the image to another form (a possible model) is completely external to the image, and the productive process is not driven by this similarity. If there is a reason to say that Renaissance art is more realistic that Gothic art, it is because the purity of the view makes the separation between reality and appearance disappear.It seems to me that it is this neutrality-oriented understanding of contemplation which best corresponds to Dieter Detzner’s art, and it may be that the best formulation of this understanding is still Paul Klee’s statement: “Art does not reproduce what is visible, but rather produces visibility.” The painting or the sculpture is then a pure reference, and it does not matter very much whether the object or motif you are using is concrete or abstract – it might be an advantage if it is abstract, because this will reduce distractions through individual, personal associations. Thus, art is not only a light that opens up a new room, rather art also shows what dimensions the wonderful activity of contemplation can have.

——Michael Renemann

The Artist Profile

Dieter Detzner was born in 1970, now living and working in Berlin..His interest is to stimulate the mental activity of the contemplator. The work is often space-related and was shown in numerous solo and group exhibitions in Europe. His solo show which held at 1995 at NEU Berlin, have gain lots of attentions from the world . Since then, he became worldwide. In 2009 his work was shown at FIAC art fair in Paris and 2010 he had a solo exhibition project at Art Basel/Basel. In 2011 his has participated at the gallery weekend Berlin. His most recent solo exhibitions were held in 2014 in Berlin and in Marseille/France.

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