【台北·敦仁】 意識驚奇 – Peter Krauskopf 彼得.克勞斯科夫 亞洲首個展 9.11-10.31

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“ 意識驚奇”

— Peter Krauskopf 彼得.克勞斯科夫 亞洲首個展

Bluerider ART 很榮幸宣布即將於9.11(六)推出「 意識驚奇」 Peter Krauskopf 彼得.克勞斯科夫亞洲首個展。Peter Krauskopf 彼得.克勞斯科夫(德,b. 1966) 生於德國萊比錫,就讀萊比錫視覺藝術學院,並受萊比錫畫派先驅 Arno Rink阿諾.林克指導完成學業。目前居住及創作於柏林。Krauskopf克勞斯科夫是萊比錫畫派中第一位由寫實走向抽象的藝術家。早期作品在觀念藝術上探討,也嘗試過「條幅畫」 (strip painting),而後不斷嘗試抽象藝術的可能性。西班牙哲學家暨藝術評論者Fernando Castro Flórez費爾南多.卡斯特羅.弗洛雷斯曾形容:「透過他神秘而寧靜的畫作,Peter Krauskopf彼得.克勞斯科夫打開了那扇驚奇之窗。面對棄絕光明的虛無喜悅,他繪製了一個讓我們可以找回最強烈美感的空間。」2015年他獲得國際當代藝術知名項目 Falkenrot Prize,曾受邀於歐洲重要城市柏林、慕尼黑、萊比錫、里斯本等城市舉辦個展,作品被紐倫堡日耳曼國家博物館(Germanisches Nationalmuseum Nuremberg)、G2萊比錫藝術館(G2 Kunsthalle Leipzig)、慕尼黑Munich Re風險管理藝術收藏(Munich Re Art Collection Munich)等機構典藏。

Peter Krauskopf彼得.克勞斯科夫的創作以抽象繪畫為主,利用流體顏料反覆塗裝,再使用刮刀把顏料抹除下來,在整體畫面形成層層疊疊的表面狀態,而在深層處則有顏色的漸變,亦用反覆刮除,形成豐富複雜的紋理。更特別的是,他鮮少使用畫筆作畫,而是利用塗料本身去形塑層次,如同雕塑般在平面展開水平或垂直的轉折與生長。流體顏料的動向通常是不可預期的,藝術家必須運用全身力量、靈活地反應隨時產生變化的塗層,並將所有片段之處融合為一。顏料的擴張或是因刮除動作而產生的鋸齒邊緣,以及不同顏色交織的破碎層次都是極迷人的表現,Krauskopf克勞斯科夫對這種「反覆繪畫的過程」 (process of overpainting)相當感興趣,他認為這是對時間的「反覆書寫」(overwriting of time),抹去了過去的時間與回憶,再塗上新的一層歷史與記憶。他的作品乍看之下是抽象的,但其實都是一段時間的凝結物,表面均質化、平滑性,在已存在舊的表面上刷上新的顏料,再成為新的圖像。他讓過去與現在的畫面之間產生共存共生的關係,被認為是「時間的拼貼畫」。

回顧極簡主義 (Minimalism)是將型態或色彩純粹化,或還原至最小極限的表現潮流,並希望實現作品不具任何意義的狀態,只呈現物件「存在現在、位在這裡」的當前自我表述。像是風格多變的德國藝術家 Gerhard Richter葛哈.李希特在1970年代開始創作 Abstract Painting 抽象繪畫系列作品,開始在畫布上刷上大片原色,再堆疊出許多層次;而後,他開始使用自製的橡皮刮板來抹除和摩擦在畫布上的大片油彩,他讓繪畫「自行地演變」。又如德國藝術家 Sigmar Polke西格瑪.波爾克在1980年代對畫布進行的彩虹色強烈顏料實驗,將傳統顏料、漆、樹脂融合產生化學變化,呈現抽象表現的獨特性。也讓人聯想至抽象藝術大師代表人物 Mark Rothko馬克.羅斯科在色彩的浪漫與意念崇高間擺盪的抽象詮釋。層層顏料,在時間的推移下,每一次的刮除與磨合都展開新的一頁歷史,顏料發展訊息,又被收回,不怕破壞畫面,在前進與後退之間,Krauskopf克勞斯科夫在畫布的每條織線上,將記憶與消逝放入抽象的世界中。


這次在 Bluerider ART展出 Peter Krauskopf 彼得.克勞斯科夫個展為首度在亞洲地區登場的展覽,他的作品名稱都有固定編號並以創作年代識別,偶爾輔以名詞描述。此次展出:延續垂直線條的系列作品,如作品MINI Z, B 041220 (2020)、SCHULE, B 151018 (2018),或是對比色彩強烈的作品Z, B290920 (2020)、溫暖而明亮清晰的Z, B 121220(2020),都是Krauskopf克勞斯科夫在同一畫面構圖上不斷讓線條與顏色發生變化的實驗,細節又如同呼吸般自然流暢。另外也展出相當知名的 ALTESBILD 系列作品,德文原意為「以前的圖像」(old picture),展現Krauskopf克勞斯科夫對於藝術史中繪畫編碼的追求,交錯的塗料及有機片狀的色塊,使觀者的思緒回到了鬱鬱蔥蔥的風景歷史中,「過去與現在」的完成之間創造了共生的關係。藝術家Peter Krauskopf彼得.克勞斯科夫帶領觀者進入「意識的驚奇」(Marvel of consciousness),在畫布上領悟對於美的深層感知,從哲學、心理、精神層面,走入意識的詩句篇章中,驚奇於面對抽象藝術的自我探索。

Z-paintings “是對於「使用者介面」圖像方式的表達,我以二至三層的顏料疊加,然而最下層卻再次的暴露(裸露)在外,這不僅是一種繪畫破壞或考古學的行為,也是一種證明畫家身體存在的姿態。” – Peter Krauskopf, Z, B 121220, 140x90cm, 2020, Oil on linen (左)Z, B290920 , 140x90cm, 2020, Oil on linen(右)

ALTES BILD “德文原意為「以前的圖像」(old picture),他們是介於抽象畫與風景畫之間,一種對於色彩導向繪畫的表達。例如,我們從過去幾個世紀的古典歐洲油畫中得知,畫家們遵循的原則是在一幅畫作中,顏色相互照亮和遮蔽,這也是一個主要繪畫原則。” – Peter Krauskopf, ALTESBILD, B 100121, 51x38cm cm, 2021, Oil on linen(左)ALTESBILD, B170421, 65x48cm, 2021, oil on linen(右)

“意識驚奇” –
Peter Krauskopf 彼得.克勞斯科夫 亞洲首個展

展期:2021.9.11 – 2021.10.31
Bluerider ART 台北敦仁 
Tue.-Sun. 10am-7pm 
台北市大安区大安路一段101巷10号一楼 

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艺术家Artist


Peter Krauskopf 彼得.克勞斯科夫

 (Germay, b.1966)

Peter Krauskopf 彼得.克勞斯科夫(德,b. 1966) 生於德國萊比錫,就讀萊比錫視覺藝術學院,並受萊比錫畫派先驅 Arno Rink阿諾.林克指導完成學業。目前居住及創作於柏林。Krauskopf克勞斯科夫是萊比錫畫派中第一位由寫實走向抽象的藝術家。早期作品在觀念藝術上探討,也嘗試過「條幅畫」 (strip painting),而後不斷嘗試抽象藝術的可能性。西班牙哲學家暨藝術評論者Fernando Castro Flórez費爾南多.卡斯特羅.弗洛雷斯曾形容:「透過他神秘而寧靜的畫作,Peter Krauskopf彼得.克勞斯科夫打開了那扇驚奇之窗。面對棄絕光明的虛無喜悅,他繪製了一個讓我們可以找回最強烈美感的空間。」2015年他獲得國際當代藝術知名項目 Falkenrot Prize,曾受邀於歐洲重要城市柏林、慕尼黑、萊比錫、里斯本等城市舉辦個展,作品被紐倫堡日耳曼國家博物館(Germanisches Nationalmuseum Nuremberg)、G2萊比錫藝術館(G2 Kunsthalle Leipzig)、慕尼黑Munich Re風險管理藝術收藏(Munich Re Art Collection Munich)等機構典藏。

„Z“, B 281114, Öl/leinen, 130cm x 100cm ,2014, Peter Krauskopf 為2015 年 Falkenrot Prize 當代藝術大獎得主。

Peter Krauskopf – S T R U K T U R at G2 Kunstalle, Leipzig, 2018

“Drift”, 2018 at Kunsthaus Kaufbeuren (德國考夫博伊倫博物館) , Germany

媒体报导 Press

Peter Krauskopf 

Germay, b.1966

Education

1997  Graduate School Graduation at Hochschule für Grafik und Buchkunst in Leipzig.

Selected Solo Exhibitions

2021 STUDIO, with Susanne Kühn, Museum der bildenden Künste Leipzig, DE

2021 Peter Krauskopf solo exhibition, Bluerider ART, Taipei, Taiwan

2020 Peter Krauskopf,Walte Storms ,GalerieMunich,Germany

2019 Paintings 2015-2019, Munich RE Art Collection, München, DE

2019 Berlin-Klondyke, Galeria Monumental, Lisbon, Portugal

2018 Code of color deGalería Álvaro Alcázar,Madrid,Spain

2018 DriftKunsthaus Kaufbeuren,Kaufbeuren,Germany

2018 GrünsteinWalter Storms Galerie,Munich,Germany

2017 StrukturG2 Kunsthalle,Leipzig,Germany

2017 40 Jahre Walter Storms Galerie , 1977 – 2017,Walter Storms

Galerie,Munich,Germany

2016 Hide And SeekJochen Hempel, BerlinBerlin,Germany

2016 Walter Storms Galerie,Munich,Germany

2015 DioramaGalería Álvaro Alcázar,Madrid,Spain

2015 Falkenrot Preis 2015Künstlerhaus Bethanien,Berlin,Germany

2014 Zwalter storms galerie – Ismaninger Strasse,Munich,Germany

2014 Jochen Hempel Leipzig,Leipzig,Germany

2013 Elbe -Galeria Vilaseco,A Coruña,Spain

2012 GrauJochen Hempel Berlin,Berlin,Germany

2012 Landschaft mit abstraktem GemäldeGalerie Neue Meister 

2012 Albertinum,Dresden,Germany

2012 Kunstgewerbemuseum Dresden,Dresden,Germany

2011 BlockWalter Storms Galerie,Munich,Germany

2009 Walter Storms Galerie,Munich,Germany

2008 Forum Kunst Rottweil,Rottweil,Germany

2008 Jochen Hempel Leipzig,Leipzig,Germany

2007 Mies van der Rohe Haus,Berlin,Germany

2006 Arbeiten 2006Galerie Elly Brose-Eiermann (former büro | für | kunst) –

Dresden,Dresden,Germany

2006 Galerie Christian Roellin – St. GallenSt. GallenSwitzerland

2005 Walter Storms Galerie,Munich,Germany

2004 Fehlfarben – Staatliche Kunstsammlung DresdenGalerie Neue Meister – 

AlbertinumDresdenGermany

2001 EIN LOB DER KLEINEN DIFFERENZEN – Zur Konstruktion 1/01 von Peter 

KrauskopfGalerie Paula Böttcher,Berlin,Germany

2000 Jochen Hempel Leipzig,Leipzig,Germany

2000 Stiftung Moritzburg – Kunstmuseum des Landes Sachsen-Anhalt,Halle, 

Saale,Germany

2000 voxxx.galerie,Chemnitz,Germany

1999 Neue Arbeite-Galerie Frank Schlag & Cie. GmbH,Essen,Germany

Selected Group Exhibitions

2021 New Luxe Bluerider ART Shanghai, China

2021 Made in Germany, Bluerider ART, Taipei, Taiwan

2020 Switch ON, Bluerider Art Gallery, Taipei, Taiwan

2019 Berlin-KlondykeGaleria Monumental,Lisbon,Portugal

2018 Summer In The CityGalerie Asbæk,Copenhagen,Denmark

2018 Summer in the CityMartin Asbæk Gallery,Copenhagen,Denmark

2018 MdbK meets G2 Malerei aus Leipzig nach 2000Museum der bildenden Künste Leipzig,Leipzig,Germany

2018 DepotJochen Hempel Leipzig,Leipzig,Germany

2018 Join the Dots / Unire le distanzeSalone Degli Incanti – Ex Pescheria Centrale,Trieste,Italy

2018 Una treguaGalería Álvaro Alcázar,Madrid,Spain

2017 La Foresta AnimadaGalería Álvaro Alcázar,Madrid,Spain

2017 ¡Manos Arriba, Esto Es Un Atraco!CCA Andratx,Andratx,Spain

2017 Berlin-KlondykeSOEHT 7,Berlin,Germany

2017 Golden AssLADEN FUER NICHTS,Leipzig,Germany

2017 Berlin-KlondykeMaribor Art Gallery,Maribor,Slovenia

2017 40 Jahre Galerie, Jubiläumsausstellung / Teil 1Walter Storms Galerie,Munich,Germany

2016 Peter Krauskopf / Yuval Shaul / Yehuda Altmann – The WalkSpinnerei archiv 

massiv,Leipzig,Germany

2016 Sammlung HildebrandG2 Kunsthalle,Leipzig,Germany

2016 10 AñosGalería Álvaro Alcázar,Madrid,Spain

2016 ExchangeJonathan Ferrara Gallery,New Orleans, LA,USA

2015 Galerie Jochen Hempel @ JFG – Gallery Exchange ExhibitionJonathan Ferrara 

Gallery,New Orleans, LA,USA

2015 Gute Kunst? Wollen!Auf AEG,Nuremberg,Germany

2015 Imago Mundi. Luciano Benetton Collection. Mappa dell’arte nuovaFondazione Giorgio Cini,Venice,Italy

2015 Berlin – Klondyke: 1. Berlin-EditionSalon Dahlmann,Berlin,Germany

2015 Berlin Artists’ Statements – announcementBWA Contemporary Art Gallery in Katowice,Katowice,Poland

2015 G2 #1 – Leipzig 2015 – Sammlung HildebrandG2 Kunsthalle,Leipzig,Germany

2014 brennzeitenKunst und Literatur Forum Amalienpark e.V.,Berlin,Germany

2014 5 jahre schellingstr. 48Walter Storms GalerieMunich, Germany

2014 Architekt – Busdriver – Zwei Brücken – 20 Jahre Gesellschaft für Moderne Kunst in DresdenKunsthalle im Lipsiusbau,Dresden,Germany

2014 InterferenciasGaleria VilasecoA ,Coruña,Spain

2014 Group ShowJochen Hempel Leipzig,Leipzig,Germany

2013 salondergegenwart 2013salondergegenwart,Hamburg,Germany

2013 Berlin-KlondykeHipp Halle Gmunden,Gmunden,Austria

2013 Schöne Landschaft – Bedrohte Natur. Alte Meister im Dialog mit zeitgenössischer KunstKunsthalle Osnabrück,Osnabruck,Germany

2013 Berlin KlondykeWerkschauhalle,Leipzig,Germany

2013 jetzt hier. Gegenwartskunst. Aus dem KunstfondsKunsthalle im Lipsiusbau,Dresden,Germany

2012 Berlin-KlondykeNeuer Pfaffenhofener Kunstverein,Pfaffenhofen,Germany

2012 Alles WasserGalerie Mikael Andersen – Berlin,Berlin,Germany

2012 geteilt | ungeteilt – Kunst in Deutschland 1945 bis 2010Galerie Neue Meister – Albertinum,Dresden,Germany

2011 Berlin Klondyke 2011Art Center Los Angeles,Los Angeles, CA,USA

2011 Berlin Klondyke 2011The Odd GalleryDawson, YT,Canada

2011 Das versprochene LandGalerie Neue Meister – Albertinum,Dresden,Germany

2009 KonstruktivLeinemann-Stiftung für Bildung und Kunst,Berlin,Germany

2009 Begegnung Bauhaus. Kurt Schmidt und Künstler der Avantgarde – von Kandinsky bis VasarelyKunstsammlung Gera – Orangerie,Gera,Germany

2008 Alge – Dillmann – KrauskopfKunsthalle Lingen,Lingen,Germany

2007 30 Jahre walter storms galerie – JubiläumsausstellungWalter Storms Galerie,Munich,Germany

2006 global playersBTAP (Beijing Tokyo Art Projects) – Tokyo,Tokyo,Japan

2006 Global Players – Zeitgenössische Künstler aus Japan und DeutschlandLudwig Forum für Internationale Kunst,Aachen,Germany

2005 Summer Group ShowJochen Hempel Leipzig,Leipzig,Germany

2005 Martin Borowski | Peter Krauskopf | Sophia Schama – FRIES — MalereiGalerie Elly 

Brose-Eiermann (former büro | für | kunst) – Dresden,Dresden,Germany

2005 Leipzig und die konstruktiv-konkrete KunstKunsthalle der Sparkasse Leipzig,Leipzig,Germany

2002 Wunschbilder – Neuerwerbungen des Kunstfonds SachsenMuseum der bildenden Künste Leipzig,Leipzig,Germany

2000 Bildwechsel – GruppenausstellungKunstsammlungen Zwickau – Städtisches Museum,Zwickau,Germany

1998 Vitale Module. Gegenwartskunst aus SachsenKunstverein Ludwigshafen,Ludwigshafen,Germany

1997 Vitale Module. Gegenwartskunst aus SachsenKunsthaus Dresden,Dresden,Germany

Collections

Berlinische GalerieBerlin

ALTANA Kulturstiftung im Sinclair-HausBad Homburg

Germanisches NationalmuseumNuremberg

Galerie Neue Meister – AlbertinumDresden

Kupferstich-KabinettDresdenG2 KunsthalleLeipzig

Stiftung Moritzburg – Kunstmuseum des Landes Sachsen-AnhaltHalle, Saale

Munich Re Art CollectionMunich

艺评Art Critique


Fernando Castro Flórez

西班牙哲學家、知名策展人、教授、作家、與藝術評論家,現任馬德里自治大學美學與藝術理 論教授,目前是該校的終身教授,同時也是索菲婭王后國家藝術中心博物館諮詢委員會成員。 自 1980 年代以來,他定期為多間報紙的文化副刊撰稿,更於馬德里最古老媒體阿貝賽報擔任 文化藝術評論家逾十年,也與眾多藝術文化雜誌有合作機會。Fernando Castro Flórez 費爾南 多.卡斯特羅.弗洛雷斯擁有豐富策展經歷,曾參與策劃上百場展覽,經歷包括 2000 年漢諾 瓦世界博覽會、智利三年展、委內瑞拉卡拉卡斯雙年展、巴西庫裡提巴國際當代藝術雙年展。

強烈的自在氛圍
(欣賞 Peter Krauskopf 彼得.克勞斯科夫畫作之感) Fernando Castro Flórez 費爾南多.卡斯特羅.弗洛雷斯

繪畫頌揚著可見性所帶來的謎團,引起了一場本質上為視覺呈現的狂熱。眼見為憑、遙遙擁有; 畫作將這種想像的擁有感延伸至人的各種層面,而這些層面需要以繪畫的方式使擁有變得可見。 Peter Krauskopf 彼得.克勞斯科夫即是這種「貪婪視覺」的例子;它超越了「視覺揭露了存 在的紋理,而其中那離散的感官訊息僅成為標點符號或頓點。眼睛浸潤於這樣的紋理之中,猶 如人獨居於自己的房子裡」1。關於這位藝術家的實踐,我們必須看看 John Berger 約翰.伯 格的觀點:畫作是對我們週邊不斷出現又消失的可見事物的確認:「沒有消失,也許就沒有繪 畫的衝動,為此,那可見性本身將擁有繪畫時力求尋找的保證 (意即持久性)。繪畫比任何一類 藝術都來得直接,是對於人類被拋入其中的存在與物理世界的一種肯定。繪畫的實體性具有比 其他任何事物都難以比擬的表現力。據推測,繪畫的狀態是一種表達人格與特質的地方;如同 我之前提到的,那是一種可能是由於其深刻的有形狀態而形成的層面。因此,最終,繪畫就像 是一種隱喻、甚至等同於一種性行為;當然,它也是一種投射巨大精神能量的空間。

Peter Krauskopf 彼得.克勞斯科夫的一些迷人畫作能產生一種鏡相效果,將觀賞者的影子囚 禁在這個空間之中。如果說他那些較小的作品在某種程度上具有準備作用,幫助他拓展色彩範 圍;那麼他的大型畫作會與觀眾產生一種微妙的互動。他畫作上的美麗色彩會催眠般地捕捉那 些想要冒險思考它們的人,然後有節奏地將我們從迷霧的氛圍景象帶入壯麗的夜空、從灰色進 入虹彩與明亮。即使在我們認為只看到一種顏色的地方,也總會有其他色調的迴盪、混合與暗 示,這些色調帶入了一種有節奏感的細緻差異、或者從整體感知上來說,是一種音樂性的細微 變化。

這些藝術作品的強烈存在產生了一種情感漂移與一種喚起夢幻體驗記憶的感覺、或對自然的一 種寓言式喚起。沒有流於字面意義或帶入美麗的形象意涵,Peter Krauskopf 彼得.克勞斯科 夫重新審視了推動精神游牧美學的浪漫旅行故事。浪漫旅行總是關於尋找自我:一場對內的長 途旅行,永無止境的飛行與逃脫。它可以是一場透過經歷痛苦的自我探索,也可以是一場感受自我痛楚的冒險或者是進入危險地帶的旅行。對 Caspar David Friedrich 卡斯帕.大衛.弗雷 德里希來說,船是浪漫游牧主義的卓越象徵,是航海生涯的化身。而 Peter Krauskopf 彼得. 克勞斯科夫的美麗畫作標記著一個充滿熱情色彩的空間,就像是喚起對水的「物質流動性」那 般,可以根據 Gaston Bachelard 加斯東.巴舍拉的註作《水與夢回歸前一形式,具有死亡與解體的雙重意義,但也代表著重生、新的循環、與生命的強化。如 》來解釋。浸入水中意味著 同 Sigmund Freud 西格蒙德.佛洛伊德所指出的,夢境通常以水來象徵出生。水暗示著所有短暫的事物,卻也代表著無限。水是透明的深遂,一種使淺薄與深奧相互溝通的元素。從這個意義上來說,我們可以因此解釋,水穿越了繪畫。

材料在 Peter Krauskopf 彼得.克勞斯科夫的畫作上流動。他將繪畫的動態縮減成為一種「塗 抹」或掃掠顏料的過程。這樣的技術類似於 Gerhard Richter 葛哈・利希特的技巧;但不同之 處在於他試圖建立的秩序,以及他支配機會與危險的努力。他的一些畫作傳達出一種清新的氣 質;材料感覺似乎繼續滴落。幾滴顏料從畫作邊緣流出,顯現著藝術的生命力與脆弱,這種強 烈的失誤也挑戰著我們採取沉思的立場。Krauskopf 克勞斯科夫解釋說,這樣的過程之中,他 使用多層的色料,旨在製造像面紗那般的薄膜;這不只具有裝飾的功能,而是他「觀看世界的 方法」。

Peter Krauskopf 彼得.克勞斯科夫透過繪畫來彰顯自我,他的抽象畫作總是暗示著有形的存 在。正如同 Paul Valery 保羅.瓦勒里所說的,畫家帶著自己的身體,「沉浸在自身的可見事 物之中,本身是可見的,然而,先知者並不侵吞自我所見;他僅僅透過凝視的方式接近它,然 後打開了世界」2。Paul Cezanne 保羅.塞尚說:「自然存在於內部」,迫使我們思考畫體的 謎團。「呈現在我們眼前的品質、光線、色彩、深度之所以會存在,是因為它們與我們的身體 產生了一種迴響,因為我們的身體歡迎它們。這些事物在我體內產生內在等價;它們在我的身 上喚起了存在的肉慾公式。為何這些關聯不應該反過來引起一些再次變得可見的踪跡,使其他 人的眼睛可以從中找到一個潛在的中心思想來維持他們對世界的審視?」3可見性的化身,從 拉斯科洞窟壁畫上的野獸直至今日,不應被視為其他地方某物的代表,而是作為它在繪畫的具 體空間中所顯現出光芒四射的存在。我從來沒有見過事物的本身;我只看到現象學家所說的 「存在的光環」:我根據它或隨著它一起看見,而並非實際看到它。

Peter Krauskopf 彼得.克勞斯科夫更近期的畫作顯示了一種雙重過程:首先以各種顏色微妙 「塗抹」的方式建立表層,然後添加能夠配置成為「中心」的線條團塊。他高超且清楚地表達 這兩種不同的雕塑性脈衝,產生一種崇高莊嚴的氣質,將我們的視線移近的同時,矛盾的是, 又將我們的距離拉開。如同 Walter Benjamin 瓦特.班雅明將靈光(Aura)描述為無論距離 多近,都能表現出距離特徵的形式已經實現。Peter Krauskopf 彼得.克勞斯科夫表示他的作 品除了繪畫行為本身以外,並未假裝成「任何東西」。他的創作過程本質上依賴於保持他的心 胸開放並堅持他對於抽象產生視覺強度區域的可能性之信念。

Peter Krauskopf 彼得.克勞斯科夫的抽象畫以及上面優雅的色彩過渡,讓我想起 Mark Rothko 馬克.羅斯科的作品,他延續了北方浪漫傳統並確立了現代的絕美情感;這在康德主 義的層面上,與理性的痛苦以及感知的強化確定性有相同的關聯。正如 Barnett Newman 巴 內特.紐曼所強調的,這樣的絕美意境現在是一種愉悅之感,當無事之下發生了某事時,該情 況便被證實為一件處於可表達極限的事件,因為這樣的事件便成為焦慮散逸的開口,而這樣的 形式超越了物質形態。Peter Krauskopf 彼得.克勞斯科夫最近的一些畫作帶有色彩世界的神 秘調性,看似融化成虛無,即使我們應該清楚其意圖既非去物質化、也不是提出一個旨在耗盡 或達成虛無歸零的主張。相反的,他的作品描述了物質的豐富與視覺的力量。他的繪畫,如同 中國畫作那般,尋求著一個能夠表達一切的空白空間。

這些畫作強化了它們的存在並覆蓋了我們,如同大氣那般,以它們非凡的微妙誘惑我們,透過 強烈的輕盈,迫使我們思考「可見性的層次」。Valéry 瓦勒里說得對,他說「最深層的是皮 膚」;這句話完全適用於 Peter Krauskopf 彼得.克勞斯科夫那讓我們我們用目光愛撫的繪畫 塗抹。這位藝術家用畫作感動了我們,矛盾的是,也讓我們停止感動。他騷動我們的情感、敦 促我們停止時間並試著與他作品中所關注的世界奇蹟融為一體。有一次,作家 Vladimir Nabokov 弗拉基米爾.納博科夫被問到生活中是否有什麼使他感到驚訝。他回答「意識的驚 奇—在了無生氣之夜,有扇窗突然打開在陽光普照的風景上」。Peter Krauskopf 彼得.克勞 斯科夫透過他神秘寧靜的畫作,打開了那扇驚奇之窗。面對棄絕光明的虛無喜悅,他繪製了一 個讓我們可以找回最強烈美感的空間。他寓言式地標記了使我們能夠進入其中並產生救贖的路 徑:詩意。

Atmospheres of intensive ease

(Thoughts on Peter Krauskopf’s paintings)

Fernando Castro Flórez

Painting celebrates the enigma of visibility, giving rise to a frenzy that is, in essence, vision itself. Seeing is be-holding, possessing at a distance; and painting extends this fanciful possession to all aspects of a being that somehow must become visible to become painting. Peter Krauskopf is an example of this “voracious vision” that, beyond “visible givens opens upon a texture of Being of which the discrete sensorial messages are only the punctuations or the caesurae. The eye lives in this texture as a man lives in his house.” Regarding this artist’s practice, we must look to John Berger’s idea that painting is a confirmation of what visibly surrounds us and constantly appears and disappears: “Without the disappearing, there would perhaps be no impulse to paint, for then the visible itself would possess the surety (the permanence) which painting strives to find. More directly than any other art, painting is an affirmation of the existent, of the physical world into which mankind has been thrown.” The corporeity of painting has an expressive potential that is hard to compare to anything else. Presumably, the condition of painting is a place to express personhood and individuality, an aspect, as I mentioned before, likely due to its deeply corporeal nature. Ultimately, therefore, painting works like a metaphor, even as an equivalent to sexual activity and is, of course, a space for the projection of tremendous psychic energy.

Some of Peter Krauskopf’s fascinating paintings produce a mirror effect trapping the shadow of the onlooker within this space. If his smaller artworks to a certain degree have a preparatory function, where he develops his colour ranges, then his larger works create a subtle interaction with the spectator. The beautiful colours of his paintings hypnotically capture whoever ventures to contemplate them and rhythmically take us from atmospheres inducing visions of fog to the splendour of evening skies, from grey to iridescence and brightness. Even where we believe we see only a single colour there are always reverberations, blends and hints of other tones that introduce a rhythmic nuance or, synaesthetically speaking, a musical nuance. The intense presence of these works of art produces a drift of emotion and a kind of sense that invokes the memory of dreamlike experiences or an allegoric evocation of nature. Without becoming literal or introducing figurative-picturesque connotations, Peter Krauskopf re-examines that romantic travel narrative which drove the aesthetic of spiritual nomadism. Romantic travel is always about the search for oneself: a long journey inwards, a never-ending flight and escape. It can be a search for identity by delving into pain, an adventure into one’s own suffering as much as a trip into dangerous zones. For Capar David Friedrich, the boat was the symbol par excellence of romantic nomadism, the incarnation of the navigatio vitae. Peter Krauskopf’s beautiful paintings mark as much a space of passionate colours as an evocation of the “material fluidity” of water that could be interpreted based on Gaston Bachelard’s Water and Dreams. Immersion into water means the return to the preformal with the double meaning of death and dissolution, but also rebirth, a new cycle, a strengthening of life. As Freud pointed out, dreams usually express birth through water. Water alludes as much to all that is transitory as to what is infinite. Water is transparent deepness, an element that enables the superficial and the profound to communicate. In this sense, one could say, therefore, that water traverses painting.

Materials flow in Peter Krauskopf’s paintings. He reduces the dynamic of painting to a process of “smearing” or sweeping pigments. His technique provides analogies to Gerhard Richter’s technique, but differs from it in the kind of order he seeks to establish, as well as in his effort to dominate chance and hazard. Some of his paintings transmit a sensation of freshness; the material seems to continue to drip. A few drops go over the edge of the painting in a manifestation of the life force and the fragility of art, of this intensive lapse that challenges us to adopt a contemplative stance. The process during which he applies several layers of colour and aims to create films that work as veils, Krauskopf explains, does not simply have an ornamental function, rather, it is his “way of seeing the world.” Peter Krauskopf asserts himself through painting; his abstract paintings always imply corporeal presence. The painter, as Paul Valéry said, takes his body with him, “immersed in the visible by his body, itself visible, the seer does not appropriate what he sees; he merely approaches it by means of the gaze, he opens onto the world.” “Nature is on the inside”, stated Paul Cézanne, forcing us to contemplate the enigma of the body of painting. “Quality, light, colour, depth, which are there before us, are there only because they awaken an echo in our body and because the body welcomes them. Things have an internal equivalent in me; they arouse in me a carnal formula of their presence. Why shouldn’t these correspondences in turn give rise to some tracing rendered visible again, in which the eyes of others could find an underlying motif to sustain their inspection of the world?”? The incarnation of that, which is visible, from the beasts painted on the walls of Lascaux until today, should not be seen as the representation of something that is somewhere else, but rather as the radiant presence it represents within the concrete space of a painting. I never see the thing itself; I see what the phenomenologist would call the “halos of Being”: I see according to it, or with it, rather than that I see it.

More recent paintings by Peter Krauskopf display a double process: of first creating a surface through subtle “smears” of individual colours, then adding lumps of lines that configure a “centre”. He masterly articulates these two different sculptural impulses, generating a sensation of sublimity, moving our gaze close in whilst, paradoxically, simultaneously making us take a distance, as if Walter Benjamin’s characterisation of the aura as a manifestation of distance no matter how close one is, had been fulfilled. Peter Krauskopf states that his work does not pretend to be anything” else than the act of painting. His creative process fundamentally relies on keeping his mind open and upholding his belief in the possibilities of abstraction to generate zones of visual intensity.

The abstract paintings by Peter Krauskopf, with their elegant colour transitions, remind me of the works of Mark Rothko, who in turn continued the northern romantic tradition and settled the modern i sublime sentiment, which, in the Kantian sense, was related as much to the misery of reason as to the intensified certainty of sensations. As Barnett Newman remarked, the sublime is now, a feeling of delight, when something happened instead of nothing, an event at the limits of the expressible that is testified, because it becomes an opening to escape anxiety and the form in which transcendence materialises. Some recent paintings by Krauskopf have the mysterious tonality of a world of colours that seem to melt into nothingness, even though it should be clear that the intention was neither to dematerialise nor to present a proposition aimed at exhausting or achieving nihilist reduction. To the contrary, his work speaks of material plentifulness and the power of visions. His painting seeks, much like Chinese painting, an empty space with the ability to articulate everything.

These paintings impose their presence and cover us, as if they were atmospheres, they seduce us with their extraordinary subtlety and, through their intense lightness, compel us to contemplate the “layers of the visible”. Valéry was right when he said “what is most deep is the skin”, a phrase completely applicable to Krauskopf’s pictoral smears that we caress with our gaze. This artist moves us with his paintings, and paradoxically, makes us stop moving. He mobilises our emotions urging us to halt time to try to become one with the wonder of the world his work focusses on. Once, the writer Vladimir Nabokov was asked whether there was something in life that surprised him. He answered, “the marvel of con sciousness – that sudden window swinging open on a sunlit landscape amid the night of non-being”. Through his paintings of enigmatic tranquillity, Peter Krauskopf opens that marvellous window. Faced with the nihilist delight that renounces light, he draws spaces with which we can recover the most intense sense of beauty. He allegorically marks pathways that enable us to enter into that which can save us: poetry.

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