安塞姆·基弗×ANSELM KIEFER
「穿梭在尘世与神圣之间的灵力」
AN ART MUSEUM
■ Anselm Kiefer, En Sof, 2020–2022 Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, metal, and wood on canvas, 27 feet 6 3/4 × 25 feet (8.4 × 7.6 m) © Anselm Kiefer
从某种意义上讲，科学就像神秘事物，因为它并不能使我确信任何东西。智慧应当让我们确定；艺术应当让我们怀疑。当我在创作一幅真正伟大的画作时，我会感到真实。
基弗融会贯通般的材料处理方式也延展到了他对历史、文学和神话作为影响当下力量的思考。在新作品中，他将《出埃及记》中的希伯来文铭文和其叙事相关的主题内容融合在一起，同时又纳入了其他不同的参考来源。这些画作充满了民族、地域和时代间的象征性界限，作为一种形而上的寓言，对迷失与解脱、剥夺与归乡予以沉思。
Anselm Kiefer's thoughtful approach to materials extends to his thinking about history, literature and mythology as forces that influence the present. In the new work, he blends Hebrew inscriptions from the Book of Exodus with thematic content related to its narrative, while also incorporating different sources of reference. Filled with symbolic boundaries between nations, places and times, these paintings serve as metaphysical allegories, meditations on loss and liberation, deprivation and homecoming.
Anselm Kiefer 安塞姆·基弗
尘世与神圣之间的灵力
The earthly and the sacred
编辑 · EDIT / ©ROSAN艺术家 ·ARTIST /©ANSELM KIEFER发行推广·LSSUANCE OF PROMOTION / ©AN ART MUSEUM
ARTIST-ANSELM KIEFER
■The large-scale paintings on view in New York and Los Angeles employ a wide range of materials including paint, terra-cotta, fabric, rope, wire, found objects, sediment of electrolysis, and metal—including copper and gold leaf. Mixing the abject and the exalted, these works are imbued with gesture, a sense of metamorphosis, and alchemical symbolism.Kiefer’s syncretic approach to materials extends to his understanding of history, literature, and mythology as forces that inform the present. In this new body of work, he incorporates inscriptions in Hebrew from the book of Exodus, with thematic references to its narrative blended with a diversity of other sources. Full of symbolic thresholds between peoples, places, and times, the paintings are metaphysical allegories that meditate on loss and deliverance, dispossession and homecoming.
ANSELM KIEFER
T I M E L IN E｜WORKS
String, Theorie, 2018 – 19
Emulsion, oil, acrylic, shellac, wood and straw on canvas
185 1/16 x 224 7/16 in. (470 x 570 cm)
Untitled, 2017 – 18
Emulsion, oil, acrylic, shellac, wire and wood on canvas
185 1/16 x 220 1/2 in. (470 x 560 cm)
Ramanujan Summation, 1/12, 2019
Emulsion, oil, acrylic, shellac and wood on canvas
259 13/16 x 261 13/16 in. (660 x 665 cm)
Der Gordische Knoten, 2018Oil, emulsion, acrylic, shellac, wood and metal on canvas110 1/4 x 149 5/8 in. (280 x 380 cm)
Die Lebenden und die Toten, 2017 – 18
Emulsion, oil, acrylic, shellac and straw on canvas
185 1/16 x 220 1/2 in. (470 x 560 cm)
Väinämoinen sucht die drei fehlende Buchstaben, 2018 – 19
Emulsion, oil, acrylic, shellac and wood on canvas
185 1/16 x 299 3/16 in. (470 x 760 cm)
String Action, 2018
Oil, emulsion, acrylic, shellac and straw on canvas
185 1/16 x 220 1/2 in. (470 x 560 cm)
The Veneziano Amplitude, 2019
Oil, emulsion, acrylic, shellac and wood on canvas
185 1/16 x 299 3/16 in. (470 x 760 cm)
Edward Witten: Quantized Gravity, 2019
Emulsion, oil, acrylic, shellac and wood on canvas
149 5/8 x 149 5/8 in. (380 x 380 cm)
The Elegant Universe, 2019
Emulsion, oil, acrylic, shellac and wood on canvas
149 5/8 x 149 5/8 in. (380 x 380 cm)
Right Wing, Left Wing, 2019
Oil, emulsion, acrylic, branches, wood and metal on canvas
110 1/4 x 299 3/16 in. (280 x 760 cm)
nubes pluant, 2016
Oil, acrylic, emulsion, and shellac on canvas
129 15/16 × 224 7/16 in. (330 × 570 cm)
Gehäutete Landschaft, 2016
Oil, acrylic, emulsion, shellac and lead on canvas
149 5/8 × 224 7/16 in. (380 × 570 cm)
Walhalla, 2016
Oil, acrylic, emulsion, shellac and lead on canvas
149 5/8 × 224 7/16 × 16 9/16 in. (380 × 570 × 42 cm)
Lapis Philosophorum, 2014, Acrylic, emulsion, oil, shellac
metal, volcanic stone, gold leaf, and sediment of electrolysis on photograph mounted on canvas
110 1/4 × 149 5/8 × 15 3/8 in. (280 × 380 × 39 cm)
Melancolia, 1982–2013
Collage of woodcuts on canvas with acrylic and shellac
147 1/4 × 110 1/4 × 1 15/16 in. (374 × 280 × 5 cm)
aßt tausend Blumen blühen, 2012, Oil, acrylic
shellac and charcoal on photographic paper on canvas
104 5/16 × 149 5/8 × 3 15/16 in. (265 × 380 × 10 cm)
Der lange Marsch, 2012, Oil, acrylic
shellac and charcoal on photographic paper on canvas
74 13/16 × 149 5/8 × 3 1/8 in. (190 × 380 × 8 cm)
Gebrochen Bluemen und Gras, 2012, Oil, acrylic
shellac and charcoal on photographic paper on canvas
74 13/16 × 149 5/8 × 3 15/16 in. (190 × 380 × 10 cm)
Laßt tausend Blumen blühen, 2012, Oil, acrylic
shellac and charcoal on photographic paper on canvas
98 7/16 × 230 5/16 × 3 15/16 in. (250 × 585 × 10 cm)
Le dormeur du val, 2012,Oil, acrylicshellac and charcoal on photographic paper on canvas74 13/16 × 129 15/16 × 2 3/4 in. (190 × 330 × 7 cm)
Laßt 1000 Blumen blühen, 2012, Oil, acrylic
shellac and pastel on photographic paper on canvas
74 13/16 × 129 15/16 × 2 3/4 in. (190 × 330 × 7 cm)
Birnam Wood, 2009, Jesmonite, lead, brambles, acrylic
oil, emulsion, ash and shellac on canvas in steel and glass frame
130 11/16 × 226 3/4 × 13 3/4 in. (332 × 576 × 35 cm)
Für Ingeborg Bachmann: der Sand aus den Urnen, 1998–2009
Acrylic, oil, shellac and sand on canvas
110 1/4 × 220 1/2 in. (280 × 560 cm)
Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss
2005, Glass and hair, Dimensions variable
Für Velimir Chlebnikov: die Lehre vom Krieg, 2004
Oil, emulsion and acrylic on canvas with lead boat
74 13/16 × 110 1/4 in. (190 × 280 cm)
Velimir Chlebnikov: Seeschlachten alle 317
Jahren oder deren Vielfachen
2004, Oil, emulsion and acrylic on canvas with lead boats
74 13/16 × 129 15/16 in. (190 × 330 cm)
Velimir Chlebnikov: Schicksale der Völker, 2004
Oil, emulsion and acrylic on canvas with lead boat
149 5/8 × 220 1/2 in. (380 × 560 cm)
Velimir Chlebnikov: Lehre vom Krieg, 2003
Oil, emulsion and acrylic on canvas with lead boat
74 13/16 × 129 15/16 in. (190 × 330 cm)
