1110
1110
阿爾伯特・爾萊恩
哨聲
估價
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Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
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拍品已售 20,935,000 港幣 成交價 (含買家佣金)
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1110
阿爾伯特・爾萊恩
哨聲
估價
Premium Lots
In order to bid on "Premium Lots" you must complete the required Premium Lot preregistration application and deliver to Sotheby's such necessary financial references, guarantees, deposits and/ or such other security as Sotheby's may in its absolute discretion require, as security for your bid. Sotheby's decision whether to accept any pre-registration application shall be final. We recommend you contact Sotheby's at least 3 working days prior to the relevant sale in order to process the pre-registration, and please bear in mind that we are unable to obtain financial references over weekends or public holidays. If all lots in the catalogue are "Premium Lots", a Special Notice will be included to this effect and the paddle symbol will not be used.
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
14,000,00024,000,000
拍品已售 20,935,000 港幣 成交價 (含買家佣金)
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拍品詳情

當代藝術晚間拍賣

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香港

阿爾伯特・爾萊恩
生於1954年
哨聲
2001年作
油畫噴瓷漆畫布
280 x 340.5 公分,110¼ x 134 英寸
參閱狀況報告 參閱狀況報告

來源

柏林,Max Hetzler畫廊
法蘭克福,Bärbel Grässlin畫廊
奧地利,Essl珍藏 (2003年購自上述來源)
倫敦,佳士得,2014年10月13日,拍品編號 21
現藏者購自上述拍賣

出版

聖特拉斯堡,聖特拉斯堡當代美術館,《Albert Oehlen》展覽圖錄(2002-03年),頁24,載彩圖
Philip Kaiser撰,〈The Recollection Issue - The Essl Collection〉,《Parabol Art Magazine》(2005年),D部分,頁25,載彩圖
Hans Werner Holzwarth撰,聖特拉斯堡當代美術館,《Oehlen》(科隆,2009年),頁416,載彩圖

相關資料

「首先,你要向醜陋踏出一步;然後,不知怎麼地,你會發現自己置身於美之中。」

阿爾伯特・爾萊恩


阿爾伯特・爾萊恩的《哨聲》活力四射、矚目驚人,畫面充滿鮮豔迷幻的色調、模糊難辨的圖案與澎湃動感,巧妙地呈現出爾萊恩獨一無二的作畫手法,是一幅氣勢磅礡、激動人心的鉅作。作品尺幅宏大,見證了爾萊恩在1988年與馬丁・基本伯格遠赴西班牙後,轉向創作巨幅抽象作品,同時體現了藝術家在具象與抽象主義之間收放自如的獨特繪畫技法。在這幅充滿動感、構圖複雜的全景作品上,澎湃的抽象態勢猶如滾滾浪潮,將游離的表象圖案——倒轉的茶壺、蠟娃娃的臉、一條股骨和一雙戴著手套的手席捲其中。畫中柔軟的桃紅色與琥珀色,掩映著帶有熱帶色彩的朱紅色、橘色和天藍色,為畫中蕪雜分陳的圖像注入扣人心弦的情感。爾萊恩將媒材發揮至極致,使它超越了本身的歷史意義,在「後繪畫時代」中致力挑戰、鑽研並復興繪畫藝術。《哨聲》採用了抽象語彙及美學概念,卻並未摒棄具象形態;這幅充滿幻想風格的作品,是爾萊恩戲稱為「後非寫實繪畫」(post-non-representational painting)的代表之作(引自藝術家,查爾斯・哈里森和保羅・伍德編,《1900至2000年藝術理論:觀念轉變選集》,牛津,2003年,頁1164)。

早年時,爾萊恩與一群名為「狂野青年」(Junge Wilde)的德國前衛藝術家互有聯繫,這批藝術家1980年代的作品顛覆了傳統線條、色彩與構圖理論,並提倡個人表達,反對明確的藝術分類。《哨聲》光復了爾萊恩早期作品中的時代精神,同時將這些作品的澎湃情感昇華至另一個層次。本作尺幅巨大,佈局宏偉壯觀,體現了爾萊恩的雄心壯志:「我想呈現的特質共冶一爐:精巧與粗糙、色彩與朦朧感,以及隱藏在這一切以下的歇斯底里基調」(引自藝術家,〈阿爾伯特・爾萊恩:弗雷迪・費斯切與尼爾斯・奧爾森訪談錄〉,《萬花筒》,第24號,2014年,網上)。本作將截然不同的形體與顏色互相融合,讓人聯想起康丁斯基在抽象藝術領域的基本嘗試。談及爾萊恩作品中的混雜性,阿拉斯泰爾・蘇克如此寫道:「不過,最成功的,莫過於爾萊恩以強烈的色彩碰撞為特色、活力澎湃的大型作品。這些作品在視覺上予人一種混亂感,畫中自由不羈的筆觸喧嘩歡騰,博取觀者的注目。可是,如果你站在它們面前,花數分鐘時間仔細欣賞,你會發現這些亂象全部經過悉心安排」(阿拉斯泰爾・蘇克,〈我希望我的畫作喜歡我〉,《每日電訊報》,2006年7月,網上)。

在爾萊恩的事業生涯中,他慣於為自己的創作方式訂立不同規則與限制,從而激發創意,創造嶄新的作品系列。他限制自己以三種顏色作畫,使用電腦及拼貼廣告材料,創作單色灰調畫。在本作及其他同系列作品的巨型構圖中,爾萊恩同時採用了德庫寧式的抽象與具象圖案。根據策展人邦妮・克利爾沃特解釋,這些成品的效果旖旎迷人:「爾萊恩不僅採用了不同大小的表象圖案,更為畫中的抽象元素賦予了不同體積。這些圖像大小不一,將觀者的視線時而拉近、時而拉遠,時而快速地橫掃整個畫幅。畫中可見具象元素的蹤跡,但它們沒有佔據整個畫面。驟眼看去,這些作品貌似完全抽象;只有當觀者花時間細心觀賞,才能發現箇中的具象元素」(邦妮・克利爾沃特,〈我知道你在去年夏天向誰展示〉,漢斯・沃納・霍爾茲沃思編,《阿爾伯特・爾萊恩》,科隆,2009年,頁422)。

本作的整體構圖充滿魄力,背景上浮現出獨立的小型圖案,偶爾可見一些具象圖形,卻被飄渺朦朧的大片色彩吞併覆沒。畫中可見一雙戴著手套的手、上下倒轉的大茶壺,以及一個令人不安的頭像,這些圖案有部份被遮蓋,或是受到不同形狀的顏料區塊所阻擋,令它們顯得難以辨識,彼此之間無法建立聯繫。對爾萊恩而言,繪畫本身就是對現實的一種顛覆扭曲;當一個人全心投入繪畫,抽象與具象作畫形式之間的拉鋸便變得不再重要。他解釋道:「譬如說,『抽象,還是不抽象』這種問題,我並不在意。在這方面,許多前輩都有相同的看法,如格奧爾格・巴塞利茲。他將畫中主題上下倒置,姿態華麗、深思熟慮、大膽不羈……在倒置後,畫中主題仍然可辨,但卻顯得不合情理,因為它以頭部著地」(引自藝術家,〈遊戲規則〉,《藝術論壇》,1994年11月)。

阿爾伯特・爾萊恩於1980及1990年代抽象畫的發展中佔重要地位,與摯友克里斯托弗·伍爾(Christopher Wool)等藝術家同步實行激進而實驗性的創作,其壯舉延續了從威廉·德·庫寧(Willem de Kooning)到伊夫·克萊因(Yves Klein)和格哈德·里希特(Gerhard Richter)一直在豐富的抽象辭彙。空間、尺寸與色感體驗是爾萊恩的創作關鍵,從這方面看來,與著名美國色域畫家馬克・羅斯科和巴奈特・紐曼的作品雷同。不過,爾萊恩不僅要觀者全心投入,考驗他們對寬宏畫幅的欣賞能力,更要觀者辨認出畫中的圖案。換言之,這些畫作的意義,不單止是唯美或崇高。據爾萊恩所述:「我想創造出美麗的畫作,但我不會採用美麗的顏料,在畫面上畫出一個美麗的主題,這根本無法成事。我希望我的作品是強而有力、令人驚訝的。當我遇見一幅令我神迷的作品時,我會問,『他是怎樣做到的?他為什麼敢這樣做?這真美』」(引自藝術家,阿拉斯泰爾・蘇克,〈我希望我的畫作喜歡我〉,《每日電訊報》,2006年7月1日,網上)。爾萊恩曾在別處宣布:「我深信,我不能透過直接的方式來創造美麗,那只是刻意的做作……這就是藝術的有趣之處,無論如何,你都要運用手上的材料,以世人從未嘗試過的方式,創造出一些能夠產生美感的東西。換言之,你的創作要令你的前輩認為『你不可以這樣做』。首先,你要向醜陋踏出一步;然後,不知怎麼地,你會發現自己置身於美之中」(引自藝術家,展覽圖錄,波恩當代美術館,《阿爾伯特・爾萊恩》,2012年,頁71)。

當代藝術晚間拍賣

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香港