Exhibition
預告片Trailer
亂紅飛秋千去 Unspoken Red Swings
Bluerider ART Shanghai · The Bund
Bluerider ART
藍騎士藝術 Bluerider ART 上海·外灘榮幸宣布將於2025年5月17日推出全新群展「亂紅飛·秋千去」（Unspoken Red Swings），以視覺、精神、情感的交匯，探索色彩、質感與詩意的深度結合。本次展覽匯集十位國際當代藝術家，展出繪畫、裝置、雕塑等多元作品，回應古典文學中的情感張力，在色彩層疊、肌理塑造之間，構築一場關於時間、記憶與情感的跨時空精神對話，邀請觀者一同感受當代藝術如何在抽象與具象之間，延續文學詩意的永恆魅力。
「亂紅飛·秋千去」取自歐陽修的千古名句「淚眼問花花不語，亂紅飛過秋千去」。歐陽修的詩詞以深邃的情感、細膩的意象和獨特的哲思而聞名，而「淚眼問花花不語，亂紅飛過秋千去」之所以千古流傳，不僅描繪了自然景象，更寄託了人類共通的情感體驗。詩中”淚眼問”而「花不語」的無言，透露出對時間流逝的恆常與無奈，「亂紅飛」則承載了離別、失落、回憶等複雜情緒，聯想到人生起伏、聚散離合的永恆命題。而「秋千」這個意象，不僅表現出空間的動態感，更像徵人生的循環往復，在時間的推移中，情感與記憶如風般輕拂，時而靠近，時而遠去。
本次展覽以「亂紅飛·秋千去」（Unspoken Red Swings） 命名，意在表現色彩構圖如風中飛舞的花瓣般自由蔓延，情感在層疊的筆觸中交錯蕩漾，喚起對時間、記憶與生命的思索。此次展出的藝術家們，透過厚塗的堆積筆觸，再現“亂紅飛”的動態。以光影折射的層次變化，創造畫面充滿時間的流動韻律，如同秋千的起伏，在消逝與回憶之間游移。而物質的疊加與肌理的雕刻，有如時間沉澱的印記，映射出記憶的斷裂與延續。藝術家們將詩意轉化為色彩的流動、材質的堆疊與肌理的雕刻，東西方藝術讓古典詩意在當代藝術中煥發新生。
展覽焦點作品法國藝術家帕斯卡爾·多比斯（Pascal Dombis）的紅色三連幅，以演算法生成的動態色彩變化，像飛舞的花瓣般自由流動。加拿大藝術家珍娜·華生（Janna Watson）將情緒轉化為富節奏感的絲滑筆觸，交迭的色彩、情感的起伏如 “秋千去” 般交錯蕩漾，在消逝與回憶之間游移。德國藝術家克里斯蒂安·格琳（Christiane Grimm）的光影牆，隨著時間流逝與光線轉換，色彩構圖在眼間流轉，滿眼朦朧，勾起滿心情緒觸動。
「亂紅飛·秋千去」（Unspoken Red Swings）群展，不僅是一次文字、詩性、藝術性的探索，更是一場對精神與哲思的藝術回應。從歐陽修的古詩句到西方當代藝術的演繹，「亂紅飛·秋千去」（Unspoken Red Swings）讓色彩成為情感的語言，記錄生命的軌跡，也讓觀者在光影流轉間，感受詩意的悠遠迴響。在色彩與觸感的交融中，我們邀請每位觀者共同踏入這場跨時空、對語言、視覺、時間、情感與藝術交會的詩意之旅。
Exhibiting artists:
Pascal Dombis
克里斯蒂安·格琳 Christiane Grimm
珍娜·華生 Janna Watson
彼得·克勞斯科夫 Peter Krauskopf
迪爾克·薩爾茲 Dirk Salz
Caro Jost
沃夫岡·福拉德 Wolfgang Flad
提姆·弗萊瓦德 Tim Freiwald
阿德里安·沃爾德 Adrian Wald
費歐娜·艾克曼 Fiona Ackerman
“亂紅飛·秋千去”群展
“Unspoken Red Swings” group exhibition
媒體預覽：2025.5.16 Fri. 2-5pm
開幕藏家預覽：2025.5.17 Sat. 2:30-4:30pm（僅限邀請）
公眾開幕：2025.5.17 Sat. 4:30-6:30pm
展覽日期：2025.5.17-2025.7.20
Bluerider ART Shanghai · The Bund
上海市黄浦區四川中路133號
周二-周日10am-7pm
info.china@blueriderart.com
Works
Artist
Pascal Dombis
(Frence, b. 1965)
Pascal Dombis (France, b.1965), a Paris-based visual artist who focuses as much on language as on perception. He is noted for his excessive use of simple algorithmic rules. It was in the early 90s, while finishing his studies in Boston, that he encountered digital artistic tools, prompting a transition from painting to algorithms upon returning to France. Since then, he has created environments marked by excess, repetition and the unpredictability of technological processes, in which he aims to engage the viewers by questioning perception in relation to space, time and language. He develops multi-referential works which play with spatial environments and promote multiple interpretations. Recent exhibitions include Artists & Robots at the Grand Palais in Paris (2018), Cybernetic Consciousness at Itaú cultural in São Paulo (2017) and the Venice Biennale (2013). In 2020, he achieved the creation of a permanent public artwork, Double Connection, nearly one hundred metres long in the centre of Shanghai. In 2022, he got a monographic exhibition Post-Digital at the Museum of Contemporary Art Sorocaba in Brazil.
More information
Christiane Grimm
(Germany, b. 1957)
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.
Janna Watson
(Canada, b. 1983)
Janna Watson（Canada, b. 1983）uses abstraction as both an escape from and return to the real. As the world we know dematerializes into paint strokes, so too does her paint take stage as its very own character in a multi-act drama of composition. Bundles of colour, made up of discrete yet inseparable instances of pigment—what Watson refers to as “moments”—are teeming and poised as though caught mid-multiplication. Sweeps of paint re-direct sharply and fold over themselves; thin, rigid ink lines cut into the pictorial field as rudimentary elements in an increasingly complex system of painterly language. All the components play out on a surface of slow, chromatic gradation. Like many of Watson’s players, these backdrops tenderly gesture toward the familiar, stopping just short of representation. The result is a conceptual project (and distinct, stylistic signature) that speaks to a contemporary milieu in which abstract painting is not the retreat of meaning into an unrecognizable realm, but rather the emergence of medium as a “figure” in its own self-inscribed world of feeling and being. Watson does more than reveal paint’s potential to emote—she gives it a space to reveal itself, in its own time.
Peter Krauskopf
(Germany, b. 1966)
Peter Krauskopf studied at the Academy of Fine Arts in his birth town Leipzig and later continued as a post-graduate under Arno Rink. Known for his break with the figurative tradition of Leipzig painting, Peter Krauskopf especially interested in the process of overpainting, which he understands as an overwriting of time. All of his pieces – the intensive colored smaller plates, as well as the big monochrome color gradients, seem to be abstract at first sight, but they are all ‘concretions of a period of time’. On homogeneous, smooth grounds which either consist of an old, former abandoned painting or a monochrome under painting, Krauskopf performs one single intervention to form a new picture. In 2015 he received the Falkenrot Prize. His paintings were widely exhibited including the Mies van der Rohe-Haus, Berlin, the Forum Kunst Rottweil, the Kunsthalle Lingen and Kunsthaus Kaufbeuren, works presented in the collection of the Albertinum in Dresden, the Ludwig Forum in Aachen, the City Museum of Wrocław, the Kunstverein Ludwigshafen, the Museum Schloss Morsbroich in Leverkusen, Kupferstichkabinett and the Galerie Neue Meister in Dresden, Germanisches Nationalmuseum in Nuremberg.
Dirk Salz
(Germany, b. 1962）
Dirk Salz (Germany, b. 1962) developed a deep appreciation for painting and art history at a young age. Currently based in Mülheim an der Ruhr, Germany, Salz’s creative process abandons traditional tools like brushes and canvases. Instead, he uses paint rollers and the gravitational force of resin to break free from minimalist conventions, exploring transparency, color dynamics, and the interplay between light and space. His works are part of the Akzo Nobel Art Foundation’s collection and numerous private collections worldwide.
Caro Jost
（Germany, b. 1965）
Graduated from the Law School and the Art School of Munich University, Caro Jost lives and creates her art in Munich. Every artist has their favorite artists, but Caro Jost takes this admiration to a whole new level, incorporating her love for Munich's abstract expressionism groups into works extensively. Her works revolve around themes of time, space, and events. In the series "Streetprints," where she traveled to over 70 locations worldwide, imprinting traces she collected from the streets onto her canvases. Her artworks were exhibited MoMA, Chelsea Art Museum in New York, and Guggenheim Collection in Venice, permanently collected by the MoMA Library Collection (The archives of MoMA, NY), Chelsea Art Museum (NY), and Museum of the City of Munich.
Wolfgang Flad
(Germany, b. 1974)
Wolfgang Flad is a German artist living and working in Berlin. Born in 1974, he studied textile design at Fachhochschule Reutlingen and fine arts at the Akademie der Bildenden Künste, Stuttgart. He has had numerous solo exhibitions in Germany and other European countries, and has placed his artwork in museum collections in Germany, Switzerland, and the Netherlands. Primarily a sculptor, Flad is interested in “upcycling” previously used material, and in creating unexpected associations and connections between art and the natural world.
Tim Freiwald
（Germany, b.1986）
Graduated from the Fine Arts at the Munich Art Academy, Tim Freiwald now work and live in Berlin. Tim Freiwald's creative process involves "destruction, decomposition, and reconstruction" generating negative spaces in his works, constantly exploring the questions of whether "destruction can still be beautiful" and "what is art." Fragments, fractured lines, and delicate structures, all portrayed through intense colors, define his aesthetic style of destructiveness. Freiwald mentioned “I want the paintings to be on the verge of physical collapse so that they only become stable through the painterly attraction between their elements.” In 2011, Tim Freiwald received the BMW Brilliance Automotive Art Award. In 2014, he became a student of the artist Thomas Scheibitz. In 2018, Tim Freiwald was awarded the New Positions prize at the Art Cologne, a prestigious art exhibition in Cologne. Tim Freiwald has already held significant solo exhibitions at various European venues including Walter Storms Galerie in Munich, exhibited at the Kunsthalle Bremerhaven in Bremen.
Adrian Wald 阿德里安・沃爾德
(Germany, b.1986)
Adrian Wald (Germany, b.1986) was born in Bavaria, Germany, currently lives and works in Munich. He studied graphic painting at the Academy of Fine Arts in Munich and the Ecole Mediterraneo des Arts in Marseille, France. In Wald's creative field, there is no clear boundary between "sculpture" and "painting", installation works that combine sculpture and painting are the main forms of creation. He deconstructs objects and embodies the concept of "breaking the way or order of viewing paintings" through his works. Wald has been selected to participate in the artist-in-residence program in Riedenburg, Germany many times, and has received grants from the Bavarian Ministry of Arts and Culture.
Fiona Ackerman 費歐娜・艾克曼
(Canada, b. 1978)
費歐娜．艾克曼（加拿大，1978年生）深受法國哲學家米榭．傅柯（Michel Foucault）異托邦（Heterotopia）理論的影響，試圖由繪畫解放現實世界的多樣表現型態，透過鏡像反射而繪出的花草圖像詮釋看似自然卻是經人為刻意安排並輔佐線條、色塊與拼貼組合的創作，將想像的視野拋入無窮遠處。
費歐娜．艾克曼畢業於艾蜜莉卡藝術與設計學院（Emily Carr Institute of Art and Design），榮獲加拿大The Kingston Prize當代肖像畫榮譽獎並入圍加拿大國家畫廊年度當代藝術大獎。作品收藏於加拿大理察·艾菲商學院（Richard Ivey School of Business）、蒙特婁銀行（Bank of Montreal）與德國農民銀行（Bankhaus Bauer）等。