【上海·外灘】“1.65” — 雷諾·奧德霍恩Reinoud Oudshoorn中國首個展 2022.10.29-12.25

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Installation

策展理念
Show Statement
Bluerider ART

雷諾・奧德霍恩 Reinoud Oudshoorn(荷蘭,b.1953) 荷蘭阿特利爾63學院藝術碩士(MFA, The Ateliers 63 Haarlem),阿爾特茲藝術學士(BFA, AKI School of Arts, Enschede),現居住創作於荷蘭阿姆斯特丹,曾執教於荷蘭皇家藝術學院。雷諾・奧德霍恩 Reinoud Oudshoorn以構築空間的極簡雕塑著稱,認為解決問題是一切創作根源。統一設在1.65M高的滅點(Vanishing Point),從此開啟每件作品的生命裏程,透過單色極簡材質的細膩敘述,點線面多點交錯滅點的獨特語言風格,實現其壹貫理念:“我搭起一座始於實體作品、經由透視空間、通往精神世界的橋梁”。展覽經歷遍及歐美,曾於阿姆斯特丹市立博物館(Stedelijk Museum),佛多爾美術館 (Museum Fodor),蘇黎世設計博物館(Museum für Gestaltung)、第8屆愛沙尼亞三年展Tallinn Applied Art Triennal等展出。作品集 ‘A Selection of Works’ 獲評選為‘The Best Dutch Book Designs 2019’。作品獲阿姆斯特丹市立美術館(Stedelijk Musuem Amsterdam)、 荷蘭AkzoNobel Art Foundation、荷蘭銀行(ABN AMRO)、德國私人美術館(Sammlung Schroth)等永久收藏。

With exact mathematical calculation, Oudshoorn draws the perspective of the shape he would create, transforming the work from lines to planes, then from planes to a space according to the distance and the angles of viewing. Ousdhoorn’s sculptures are often made with iron and frosted glass, the latter a symbol of the contemplative, metaphysical and mysterious, atmospherically reminiscent of the muffled silence of mist, and tying in with the artist’s wish to transport a visual image into a space of one’s own imagination.

Oudshoorn’s inspiration for his sculptures originates from impressions of the world the artist experiences. This can be imagery drawn from nature or architectural shapes, and phenomena like the mist characteristic for his homeland. Abstracted into surfaces and structures, they are transformed into new objects that reveal contemplative and even mysterious qualities. This link between nature and infinity refers to influential artistic movements such as the simplified compositions of the De Stijl with its clear forms or to the atmospheric light of Dutch landscape painting. The play with perception and dissolution of forms relates Oudshoorn’s sculptures to works like the condensation cubes by Hans Haake from the early 60s or Anthony Gormley’s cloud chamber Blind Light.



自古羅馬時期藝術家就對透視有一定的認識,兩條並行線在某個點聚集後消失,就是滅點。公元1011年阿拉伯科學家海什木Ibn al-Haytham的《光學全書》Perspectiva翻譯拉丁文就是 “光的科學” 透視(Perspective),文藝復興意大利畫家馬薩喬Masaccio(1401~1428)是第一位在繪畫中使用線性透視,也是第一位在藝術中使用滅點技巧,自此藝術家營造平面繪畫時,為使其具象化的透視手法,任何⻆度觀看都只有一個滅點,將觀者的視線牽引到藝術家想要帶到的位置上,從而達到視覺上的收束。20世紀荷蘭風格派運動(De Stijl)主張抽象和簡化,外形上縮減到幾何形狀,顏色只用紅、黃、藍三原色與黑、白二非色彩的原色。藝術家們共同關心的問題是簡化至本質的藝術元素,平面、直線、矩形成為藝術中的支柱,並通過數學的計算來達到視覺平衡 。奧德霍恩Oudshoorn的作品則開創多維風景,他進壹步將此概念延伸在白墻、地板,創作被定義為一種載體,觀者在接近墻面的那一刻,便可以體驗一種圖像,而這樣的圖像讓空間感變得與眾不同,觀者視覺被牽引至想象滅點,進而打開大腦感官思維,進入想象世界遨翔。

這次於Bluerider ART上海·外灘”1.65”-雷諾・奧德霍恩 Reinoud Oudshoorn 中國大陸首個展,將展出其代表作、最新作品及手稿。展名“1.65”代表1.65M不僅是視覺滅點、消失點,也是打開大腦詩意空間的進入點。整個展埸由一條1.65M高的隱形水平線,串連起每一件展出作品,這些統一1.65M滅點高度的雕塑,每一件又各自擁有墻內延伸空間、墻外拓展空間、腦海中的詩意空間。作品K-10以多件極細黑鐵線條組合,有如鳥羽翅膀淩空飛舞,層層叠叠延伸入⽩墻,宛如一幅空間中的立體繪畫。作品C-21 由12片薄黑鐵片組成,極簡的外型呈現線與⾯的多重延伸、多個滅點,誘發觀眾在移動中,仔細發掘多層次空間的奧妙。展出的藝術家設計手稿,密密麻麻數學計算公式,有如速描作品,呈現藝術家創作思維歷程。

Oudshoorn's first solo show "Vanishing point" at Bluerider ART revolves around the concept of space and spatial illusion that he had been exploring since long. Space that becomes the concrete reality of a three-dimensional, but also spaces that lie in between the shapes and materials visible; areas that cannot be captured or confined and which remain hidden or obscured. "A sculpture must generate more space than it consumes", stated by Oudshoorn. With limited material and surface, the artist seeks to provide viewers the experience of the totality of space through a relatively small object. He explores the gap between finitude of physical subjects and infinity of immaterial subjects, suggesting an endlessness in the space that surrounds us, an infinity of mind and sphere.

‘1.65’
— 雷諾·奧德霍恩Reinoud Oudshoorn中國首個展

◼️媒體預覽 Press Preview:
10.29 Sat. 2pm – 4pm
◼️VIP Opening開幕式(藏家預覽):
10.29 Sat. 2pm – 5pm
◼️Open to public大眾開放:
10.29 Sat. 5pm – 7pm
◼️展期:
2022.10.29-12.25
◼️地點:
Bluerider ART Shanghai · The Bund
Tuesday to Sunday, 10am-7pm
No. 133 Sichuan Middle Rd., Huangpu Dist., Shanghai
◼️免費參觀

Works

藝術家介紹

雷諾・奧德霍恩 Reinoud Oudshoorn(荷蘭,b.1953)

荷蘭阿特利爾63學院藝術碩士(MFA, The Ateliers 63 Haarlem),阿爾特茲藝術學士(BFA, AKI School of Arts, Enschede),現居住創作於荷蘭阿姆斯特丹,曾執教於荷蘭皇家藝術學院。雷諾・奧德霍恩 Reinoud Oudshoorn以構築空間的極簡雕塑著稱,認為解決問題是壹切創作根源。統壹設在1.65M高的滅點(Vanishing Point),從此開啟每件作品的生命裏程,透過單色極簡材質的細膩敘述,點線面多點交錯滅點的獨特語言風格,實現其壹貫理念:“我搭起壹座始於實體作品、經由透視空間、通往精神世界的橋梁”。 展覽經歷遍及歐美,曾於阿姆斯特丹市立博物館(Stedelijk Museum),佛多爾美術館 (Museum Fodor),蘇黎世設計博物館(Museum für Gestaltung)、第8屆愛沙尼亞三年展Tallinn Applied Art Triennal等展出。作品集 ‘A Selection of Works’ 獲評選為‘The Best Dutch Book Designs 2019’。作品獲阿姆斯特丹市立美術館(Stedelijk Musuem Amsterdam)、 荷蘭AkzoNobel Art Foundation、荷蘭銀行(ABN AMRO)、德國私人美術館(Sammlung Schroth)等永久收藏。

SELECTED SOLO EXHIBITIONS
2020 FRAGMENTED TRUTH (WITH ALICE QUARESMA), PATRICK HEIDE CONTEMPORARY ART,LONDON
2019 VANISHING POINT,BLUERIDER ART, TAIPEI, TAIWAN
2017 DIMENSIONS OF THREE, ALLOUCHE GALLERY, NEW YORK, US
2017 RECENT SCULPTURES, PATRICK HEIDE ART COMPANY, LONDON, UK
2015 RAMAKERS GALLERY, THE HAGUE, THE NETHERLANDS
2013 RECENT SCULPTURES, PATRICK HEIDE ART COMPANY, LONDON, UK
2012 DIMENSIONS, GALLERY SKAPE, SEOUL, SOUTH KOREA
2011 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
2010 POETIC REALITY IN SPACE, GALLERY SKAPE, SEOUL, SOUTH KOREA
2009 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
2008 ART AMSTERDAM, WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
2008 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
2005 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
2003 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
2000 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1998 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1996 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1995 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1994 PATH GALLERY, AALST, BELGIUM
1993 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1992 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1991 PATH GALLERY, AALST, BELGIUM
1990 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1988 WAALKENS GALLERY, FINSTERWOLDE, THE NETHERLANDS
1987 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1985 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1983 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1981 WETERING GALLERY, AMSTERDAM, THE NETHERLANDS
1979 MUSEUM FODOR, AMSTERDAM, THE NETHERLANDS
1978 WAALKENS GALLERY, FINSTERWOLDE, THE NETHERLANDS

COLLECTIONS
AKZO NOBEL ART FOUNDATION
COLLECTION STEDELIJK MUSEUM, AMSTERDAM
ABN AMRO ART COLLECTION
THE CHADHA ART COLLECTION
ELEANORE DE SOLE COLLECTION
JOODS HISTORISCH MUSEUM
UNIVERSITY MEDICAL CENTER UTRECHT

SELECTED PUBLICATIONS
2019 “REINOUD OUDSHOORN” BOOK, MONOGRAPH.
2018 PATRICK HEIDE CONTEMPARARY ART “TEN YEARS”
2017 COLLECTION “SAMMLUNG SCHROTH (1981-2016)”, STIFTUNG KONZEPTUELLE KUNST.
2017 SAFARI TYPO AMSTERDAM, BY BAS JACOBS
2013 DEN HAAG CENTRAAL, CULTURE, 12-04-2013 “VERNUFTIG SPEL MET RUIMTE EN KLEUR” DOOR EGBERT VAN FAASSEN.
2012 CAT. GALLERY SKAPE, REINOUD OUDSHOORN,”DIMENSIONS” BY WONSEOK KOH[CURATOR ARKO ART CENTER]
2012 ART IN CULTURE, SEOUL, KOREA “REINOUD OUDSHOORN / CHOI KI SEOG”BY GIM JONGGIL
2012 SUNDAY MAGAZINE, SEOUL KOREA GALLERY REVIEW, REINOUD OUDSHOORN AT GALLERY SKAPE.
2011 SPACE, ARCHITECTURE AND ART MAGAZINE, NR 529. “POETICS OF SPACE” BYYUNKYONG KIM
2010 CAT. GALLERY SKAPE “REINOUD OUDSHOORN, POETIC REALITY IN SPACE”
2009 KUNSTBEELD “REINOUD OUDSHOORN, ANNA VAN LEEUWEN [WETERING GALERIE]”
2008 “REINOUD OUDSHOORN” BOOK, MONOGRAPH.
2008 KUNSTBEELD “WISKUNDE VOOR DE VERBEELDING”, HANS SIZOO
2006 NRC HANDELSBLAD “TIJDREIS DOOR HET GEBOUW VAN ARTI”, MACHTELD LEIJ
2003 KUNSTBEELD “REINOUD OUDSHOORN, WETERING GALERIE”, HANS SIZOO
2003 ITEMS “HARDE CIJFERS”, MVE
2001 CAT. AMSTERDAMS FONDS VOOR DE KUNST “A PUBLIC SPACE 2001, ODYSSEY”,AMSTERDAM
2000 KUNSTBEELD “REINOUD OUDSHOORN, WETERING GALERIE”, WILLEM VAN BEEK
2000 HET NEDERLANDSE KUNSTBOEK RICHARD FERNHOUT/ COLIN HUIZING, WAANDERSPUBLISHERS B.V. ZWOLLE, NL
1998 NRC HANDELSBLAD “WETERING GALERIE” JANNEKE WESSELING
1997 STICHTING COLLAGE KORTENHOEF “NOOIT ZAG IK AWATER ZO VAN NABIJ”
1997 THE NEW YORK TIMES, ART IN REVIEW “ONE-LINE DRAWING”, ROBERTA SMITH
1996 HET FINANCIEELE DAGBLAD “EXPOSITIE ZONDER TITEL TOONT LEVENDE JOODSE CULTUUR”,MARTY BAX
1996 THE MEMPHIS FLYER, “DUTCH TREAT”, NANCY MUSE, MEMPHIS TN, USA
1996 CAT. NORWICH GALLERY “WEATHERVIEW”, NORWICH, UK
1995 HET PAROOL “MODERNE KUNST IN JOODSE CONTEXT”, PIETJE TEGENBOSCH
1994 CAT. INFO MÉMOART “SPÉCIAL TRONES DES ARTISTES”, ÉDITÉ PAR ATELIER MÉMOIRE,PARIS
1992 HET PAROOL “ABSTRACTIE”, JAN BART KLASTER
1992 CAT. QUARTIER DE LA BASTILLE, ‘LE GENIÉ DE LA BASTILLE’, PARIS
1992 CAT. GEMEENTE KUNSTAANKOPEN
1991 “AMSTERDAM KOOPT KUNST”, MUSEUMFODOR, AMSTERDAM
1990 HET PAROOL “AFGEBAKENDE RUIMTE VOOR HERINNERINGEN”, INTERVIEW BY JAN BARTKLASTER
1990 CAT. JOODS HISTORISCH MUSEUM “BEVRIJDINGEN”, AMSTERDAM
1989 HET PAROOL, KUNSTBIJLAGE “DE PRENT VAN REINOUD OUDSHOORN”
1989 CAT. STICHTING BEELDENROUTE OVERIJSSEL “KUNSTLIJN”, BEELDENROUTEZWOLLE-EMMEN
1989 CAT. STEDELIJK MUSEUM AMSTERDAM “DE AMRO BANK COLLECTIE, EEN KEUZE”
1988 CAT. TENTOONSTELLINGSDIENST OVERIJSSEL “SPEL DER VERRASSINGEN, EUROPESE KUNST VAN DE 20STE EEUW”
1985 HET FINANCIEELE DAGBLAD “BEELDTEKENS”, WALTER BARTEN
1984 CAT. DE KAMPANJE, DEN HELDER NL
1983 HET PAROOL “LICHTVOETIGE KUNSTWERKEN”, FRANS DUISTER
1981 HAARLEMS DAGBLAD “OUDSHOORN EN DUMAS DWINGEN TOT KIJKEN”, KUNSTREDACTIE
1981 NRC HANDELSBLAD, “DUMAS/ OUDSHOORN LATEN ZICH INSPIREREN DOOR VREEMDEDIEREN”, PAUL GROOT
1981 STICHTING FELISON, “FELISON OP BEECKESTIJN”, VELZEN-ZUID
1978 NIEUWSBLAD VAN HET NOORDEN “ATMOSFERISCHE VERSTILLING IN HET WERK VANREINOUD OUDSHOORN”, ERIK BEENKER
1976 HET FINANCIEELE DAGBLAD “TENTOONSTELLING IN HET STEDELIJK”, MATHILDE VISSER
1976 DE NIEUWE LINIE, “DE INTEELT VAN HET STEDELIJK MUSEUM”, JAN JUFFERMANS
1976 CAT. STEDELIJK MUSEUM AMSTERDAM “11 PAINTERS”

作品收藏洽询

上海milliechen@blueriderart.com

台北beckyhung@blueriderart.com

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