Christiane Grimm
（Germany, b. 1957)

克里斯蒂安．格琳 Christiane Grimm (Germany, b. 1957) 畢業於斯圖加特大學Universität Stuttgart建築所。她的創作被稱為「不插電的動態光影」。多年來她持續實驗研究光線、色彩、空間，與特殊玻璃、壓克力等材質的特性結合，有系統地、精確地、處理分層感知色彩，讓物理光線影響著圖像的具體性，作品隨著光線變化、觀看位置不同，顯示立體漸層以光作畫。作品於德國 Museum Ritter、Wilhelm Hack Museum 展出並獲頒 The public’s choice award 獎項。獲德國海德堡市政府、德意志銀行，以及眾多私人美術館Das Kleine Museum、 Kunsthalle Würth、私人機構PwC資誠聯合會計事務所…等永久收藏。

  • Würth, Künzelsau Collection, Germany
  • Das kleine Museum, Weißenstadt, Germany
  • Marli Hoppe-Ritter Collection, Waldenbuch, Germany

格琳 Grimm 使用金属、有机玻璃、古董玻璃、压克力或纸本绘画..等媒材来创作，她不仅运用工业化材质，也利用手工技法，混合拚贴几何、极简主义的概念。格琳 Grimm研究并关注色彩、光线、空间所构成的氛围 ——所见的 「光线」是穿透物质的媒介，选择「透明」的玻璃媒材让作品的前景和背景的分离更加流畅。众多作品由垂直水平分割的块状图形构成，渐变的序列色彩与线条不断交叠，在光线的照映下，呈现一种立体而柔和的物质性，沉静有秩序，也因光线与观者视线移动的变化，产生色彩的流动状态，色彩边缘的界线相当模糊，近距离观看时，会发现其表面相当细緻。作品整体破除严谨的几何型态，透过带菱纹玻璃、 色彩选择与反覆试验，作品充满强烈的绘画特徵，光引导著观者凝视作品，纵使积极凝视，也无法一眼望穿。色彩是人们所见的天空、海洋或是土地，或是教堂窗格映入的彩色玻璃故事，带有冷暖寓意，尤其夜间作品自带发光，神秘且宁静。

La vie secrète des couleurs, 德国拉登堡, 压克力玻璃、纸和风扇, 2020

德国海德堡, 玻璃, 2005

德国海德堡, 玻璃, 2005

德国吉森, 玻璃, 2011

回顾艺术史，在1960 年代美国的极简主义（Minimalism）同时发展至欧洲德国艺术圈，极简艺术极力排除阻碍视觉的要素，追求呈现物件的真样貌，让作品还原成纯粹的认知对象，部分艺术家统一用工业材料，简化型态，或是强调作品与空间的连结。像艺术家 Keith Sonnier 使用霓虹灯的线性质量在空间中绘製光和颜色，而光的漫射使作品能够在各种建筑平面上相互作用。当代艺术家 James Turrell在建筑场所建构作品，从白天至黑夜，太阳和月亮的光被带入私密的空间，让观者经历直视物件本质的过程。又如艺术家 Olafur Eliasson 使用光、水和气温等元素材料来增强观众体验的大型装置艺术，于室内外空间创造惊奇。同时，欧普艺术（Op art）中对色彩应用的手法在格琳 Grimm作品中反覆出现，欧普艺术採用幻觉般的色彩，重複简单的形式和颜色组合，或是莫尔波纹（Moiré patterns），操纵透视规则以产生三维空间的错觉，混合颜色以创造光影印象。

从雕塑、墙上装置，各种几何形状，不同维度组成产生非静止、不插电的动态效果，色彩表面创造感知模糊，一座座海市蜃楼在眼前出现、消失，令人反覆玩味。小型立体雕塑作品，水平垂直的片状空间构成纯粹、如同建筑的微缩模型空间，光线可在其中自行穿透、及不可穿透的异材质，构成自成一格的建筑体，错置的窗格显示了彩色光谱序列，展现连续韵律的视觉节奏。 「光」是格琳 Grimm创作的核心元素，藉由光影呼吸、穿透、玻璃、 色彩、透明，物质相互对照与呼应，给予观者纯粹而隽永的絮语。

Selected Solo Exhibitions

2022  Gradient, Bluerider ART, Taipei
2021  Galerie liinde hollinger, Germany
2020 red transformation (S), Galerie Klaus Braun, Stuttgart
2020 Melanges en couleurs – geheimnisvolle Lichträume (S), Galerie Corona Unger, Bremen
2020 Bildmaschinen,Galerie Klaus ,Braun,Stuttgart, Germany
2020 La Vie Secrète Des Couleurs,Galerie Linde Hollinger,Ladenburg,Ladenburg Germany
2019 Wort Form Licht, Galerie Linde Hollinger, Ladenburg, Germany
2019 Galerientage im Mannheimer Kunstverein, Galerie Linde Hollinger, Ladenburg, Germany
2019 Christiane Grimm – one artist show, Galerie Mariette Haas, Ingoldstadt, Germany
2018 Transformation, Bluerider ART, Taipei, Taiwan
2018 Light Fusion, Jörg Heitsch Galerie, München, Germany
2018 Werke aus dem Bestand der Galerie, Sonderausstellung Christiane Grimm, Galerie Linde Hollinger, Ladenburg, Germany
2017 Wandobjecten Expositie, Galerie Broft, Leerdam, The Netherlands
2016 Galerie Latzer, Kreuzlingen, Germany
2015 Wandobjekte im kleinen Format, Galerie Klaus Braun, Stuttgart, Germany
2015 Raum Konkret, Galerie Linde Hollinger, Ladenburg, Germany
2013 Geheimnisse der Wirklichkeit, Kunstverein Frankenthal, Frankenthal, Germany

Selected Group Exhibitions

2021 COLOR … MOTION, mit Rosa M. Hessling und Barbara Rosengarth
2021 kuratiert von Veronika Rodenberg, Museum Modern Art, Hünfeld
2021 New Luxe,Bluerider ART,Shanghai,China
2021 Mental Space,Bluerider ART,Taipei,Taiwan
2021 Schwingung des LichtsHeitsch,GalleryMunich,Germany
2021 Made in Germany,Bluerider ART,Taipei,Taiwan
2020 Switch ON,Bluerider Art Gallery,Taipei,Taiwan
2019 Hue, Bluerider ART, Taipei, Taiwan
2019 Uitnodiging Zomerexpositie, Broft Galleries, the Netherlands
2019 Hong Kong Spring, Bluerider ART, Hong Kong
2019 Art Karlsruhe, Galerie Linde Hollinger, Galerie Obrist, Karlsruhe, Germany
2019 5.internationaler andré evard preis
2019 kunsthalle messmer, Riegel, Germany
2019 HIGHLIGHTS, Galerie Heitsch, München, Germany
2018 weiss, Galerie Mariette Hass, Ingoldstadt, Germany
2018 Kunst in Tüten, Galerie Obrist, Essen, Germany
2018 Geometric and Kinetic, Nicholsen Art Gallery, Brussels, Belgium
2018 Deltabeben Regionale 2018, Wilhelm Hack Museum, Ludwigshafen, Germany
2018 Autumn Hong Kong, Bluerider ART, Hong Kong
2018 Art Bodensee, Galerie Obrist, Essen, Germany
2018 Sommerlicht, Galerie Linde Hollinger, Ladenburg, Germany
2017 Frohes Neues, Galerie Mariette Haas, Ingoldstadt, Germany
2017 positions 2 invited by Dirk Salz, Thomas Deyle, Christiane Grimm, Pieter Obels, Oster & Koelze, Katja Pfeiffer, Alexander Voss, Galerie Obrist, Essen, Germany
2017 ROT KOMMT VOR ROT, Sammlungspräsentation der Sammlung Marli Hoppe-Ritter, MUSEUM RITTER, Waldenbuch, Germany
2016 Sonne – Konkrete Kunst in sonnigen Farben mit Arbeiten von Hellmut Bruch, Thomas Deyle, Rupprecht Geiger, Christiane Grimm und Giesela Hoffmann,
Galerie Mariette Haas, Ingolstadt, Germany
2016 Masters of Light, Jörg Heitsch Galerie, München, Germany
2016 4. Andre Evard Preis, Kunsthalle Messmer, Riegel, Germany
2015 Accrochage, Galerie P13, Heidelberg, Germany
2015 Arbeiten auf Papier, Galerie Klaus Braun, Stuttgart, Germany
2014 Weiss inspiriert, Galerie Linde Hollinger, Ladenburg, Germany
2014 Licht und Energie, Galerie Linde Hollinger, Ladenburg, Germany
2013 Art shoppen, Galerie Linde Hollinger, Ladenburg, Germany
2013 3. Andre Evard Preis, Messmer Foundation, Riegel, Germany
2011 Materials, Galerie P13, Heidelberg, Germany
2011 Galerie Linde Hollinger, Ladenburg, Germany

Collections

Das kleine Museum, Kultur auf der Peunt, Weißenstadt, Germany
Herbert-Weisenburger- Stiftung, Rastatt, Germany
Kirchengemeinde, Lützelsachsen / Weinheim, Germany
Kunstkommission Dossenheim, Dossenheim, Germany
Landratsamt Böblingen und Heidelberg, Heidelberg, Germany
Regierungspräsidium Karlsruhe, Karlsruhe, Germany
Adrian Latzer Collection, Kreuzlingen, Switzerland
Agathe and Maximilian Weishaupt Collection, München, Germany
Deutsche Bank Collection, Frankfurt, Germany
Marli Hoppe-Ritter Collection, Waldenbuch, Germany
Siegfried Grauwinkel Collection, Berlin, Germany
Würth, Künzelsau Collection, Germany
Stadt Heidelberg, Heidelberg, Germany

Christiane Grimm -geworfen, 2016

Cornelia Buder

geworfen, 2016
Mixed media, ribbed acrylic glass
100 x 100 x 10 cm

The Heidelberg-based artist Christiane Grimm has created colour and light spaces ever since the mid-1980s. A major focus of her researches is on colour itself, which she investigates in terms of its luminosity, its wide range of nuances, the ways they can be combined, and also their effect on the viewer.

A trained architect and self-taught artist, she works with a wide range of colour materials, from oils and acrylics to pastels, and generally creates visual objects, architectural light sculptures, and boxes from Perspex, antique glass, and ribbed gloss. The sensual effect conveyed by her works results from the varying interactions between the colours, the composition, the space, the material, and the lighting.

The box titled geworfen [thrown] contains coloured rectangles that appear to be floating in a diffuse, dark red space. Various shades of at times fluorescent orange and violet can be seen alternating with white and reflecting elements. Christiane Grimm explores the phenomenon whereby a colour value is never absolute but may appear different in combination with other colours, and how colour perception is strongly influenced by the actual lighting situation and the material used as the colour medium. In geworfen, the milky ribbed glass refrocts the incoming and reflected light, so that a large variety of hues light up. Through these refractions, the contours of the coloured forms seem to dissolve: the colour fields flow optically into one another and mingle, while the mirrors – in interaction with the surrounding space and the viewing angle – heighten not only the wealth of colours but also the kinetic effect.

Apart from the differing impressions of space created by the individual colours, the pictorial elements themselves appear through their arrangement to have distorted perspectives and a plastic form. The box has in fact a depth of just ten centimetres, but seems much deeper. Only once it has entered into a dialogue with a viewer in motion does it reveal the protean nature and beauty of its differentiated colour space. The work resists any unequivocal reception and opens up a magically enticing world of colour that invites us tothat linger and make new discoveries.

Translation: Malcolm Green

Colours are the joy of life

E. L. Kirchner

Christiane Grimm’s work as an artist is defined by colours and their reciprocal effects. Her pictorial concepts rupture the formal severity of geometric abstract art, which she completely bursts open and freely arranges in her most recent works. In spite of the diversity of their forms, she highlights the sensual aspect of colour in these compositions. When she aims at the dynamism of colour, this is directed towards a visual process. In her pictorial objects, she employs colour and form in such a way that their interpenetration generates a calculated and simultaneously vibrant pictorial world. They are poetic formations made up of light, floating planes, which are also achromatic on very rare occasions. By employing ribbed acrylic glass, Grimm achieves optical effects that run counter to an unambiguous perception of space. The colours’ refraction in the fine lines of the ribbed glass, which is positioned with intervening spaces, imbues her works with an emphatically painterly character, and they seem less like an assemblage of different materials. The artist composes the colours as converging or diverging simultaneous contrasts. Depending on the selection and positioning of colours, their relationship to one another is either complementary or non-complementary. The intuitively established chromatic ‘chords’ manifest themselves to viewers as consonant or dissonant. This simultaneous interplay of colours remains in motion and its aim is the viewer’s attentive and active gaze. Another reason why Grimm’s works cannot be taken in at a glance is the fact that light and the directing of light is an essential element of her pictorial objects. She assembles extremely diverse materials, such as sheets of paper dyed by the artist herself and mirror surfaces, in order to incorporate ambient light into her pictorial concept and composition. It is particularly fascinating to experience her box objects in different lighting contexts. Depending on the lighting, surfaces which had previously remained unremarked emerge, or areas which previously lay in darkness light up. Specific hues are often intensified to such a degree that they appear to glow. Vantage point plays a key role in viewing the works: one step forward or back, to the left or right can evoke entirely different or new kinds of visual impressions.

Using carefully calculated artistic means, Grimm succeeds in investing the static structure of her chromatic compositions with an enormous real as well as virtual dynamism on various levels. Light transforms the state of both the work and our perception from the one to the other. Christiane

Grimm’s subtle chromatic and achromatic pictorial objects often elicit astonishment through the interplay and reciprocal effects of their colours, and this stirs our curiosity to acquaint ourselves more closely and intensively with the individual artwork in all its manifestations and the artist’s entire body of work with all its diverse facets.

HTC X Bluerider ART 创世纪 Genesis 特展

HTC X Bluerider ART 创世纪 Genesis 特展

微风 ╳ Bluerider ART 当风起时特展

微风 ╳ Bluerider ART 当风起时特展

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【台北·敦仁】 「渐层 Gradient」克里斯蒂安.格琳 Christiane Grimm 在台首个展 2022.05.07- 2022.06.26

「翻牆 Scale The Wall」- Bluerider ART 2019 年度实验特展

「翻牆 Scale The Wall」- Bluerider ART 2019 年度实验特展

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