Shanghai Perrotin – Sol LeWitt – Wall Drawings

索尔·勒维特 墙绘 开幕:3 月 22 日(周五)5 – 7PM
2019年3月22日至5月25日

贝浩登(上海)荣幸宣布呈现展览“索尔•勒维特:墙绘”(Sol LeWitt:WallDrawings)，是这位活跃于1960及1970年代美国观念 艺术及极简主义运动标杆人物的一次里程碑式的展览。展览汇聚了索 尔•勒维特具有深远意义的 16 件绘制于墙上的作品，其中包括一件 遍布 4 面墙壁的大型沉浸式墙绘作品，它们均诞生于 1980 至 1990 年代。本次展览将是索尔•勒维特代表性“墙绘”作品在中国的首次 集中展示。
上世纪 60 年代，索尔•勒维特的作品得到广泛展出。当时的美国 正经历着社会和政治的急剧变迁，尤其是在索尔•勒维特工作和生 活的纽约。文化上的富足和进步令他得以以艺术实践的方式阐发自 身对于连续性、形式、颜色以及日进广布的艺术非物质化问题的兴 趣。1967 年，索尔•勒维特发表了《论观念艺术》(Paragraphs on Conceptual Art)一文，文中他宣称:“观念成为制造艺术的机器”。 这一先驱性的观点诠释了“墙绘”系列的创作思路，而这种基于规则 的创作指示也经由艺术家被其助理们继承及发扬。
到了 20 世纪 80 年代后期，索尔•勒维特开创了一套将颜料叠加的 画法系统 —— 以墨水浸湿的布块逐步有层次地进行叠加。本次展 览中的墙绘作品正是使用了这一艺术性的手法，从而创作出诸多明丽 丰富的几何图形和抽象形式。例如，在系列“墙绘 #606 A-K”(Wall Drawing #606 A-K) 的部分作品中，由彩色墨水上色的矩形立方衍 生体被放置在规整的框格中，遍布整面墙，其中饱和的灰色、黄色、 红色以及蓝色色块正是由这种叠加的画法实现的。与此同时，大尺幅 作品《墙绘 #624》(Wall Drawing #624)中，以一面墙的右侧中 点为圆心，延伸形成宽为 25 厘米的弧形色带群，其中灰白、黄白、红 白以及蓝白交替出现，最终这些激越纷呈的色带布满了一间展厅的全 部 4 面墙。索尔•勒维特对形状、颜色的严谨探求以及将思考与实体 艺术作品并重的立意，如今依然对艺术如何创作、艺术家扮演何种角 色等重要议题持续发起着挑战。
艺术家简介
索尔•勒维特(1928-2007)成长于美国康涅狄格州哈特福德的一 个俄罗斯犹太裔移民家庭，1949 年就读于雪城大学，后在朝鲜战争 中服兵役。1953 年，他迁居纽约并开始从事杂志平面设计的工作，后 又供职于贝聿铭建筑师事务所。索尔•勒维特曾求学于纽约视觉艺术 学院，在此期间，他还在纽约现代艺术博物馆担任晚班职员。也许就 是此时他接触到了现代艺术，而 19 世纪末摄影师埃德沃德•迈布里 奇(Eadweard J. Muybridge)的作品也许是当时对他影响最大的发 现之一。受到迈布里奇以序列照片呈现运动方式的影响，索尔•勒维 特的作品开始带有更强的序列性。
1963 年，索尔•勒维特的作品在圣马可教堂得到首次公开展示。自于纽 约 约 翰 • 丹 尼 斯 画 廊 举 办 了 首 场 个 展 之 后 ，他 举 办 过 数 百 场 个 展 。1 9 7 0 年，索尔•勒维特于海牙市立美术馆举办了首个回顾展。1978 年，他在 职业生涯中期于纽约现代艺术博物馆举办了大型回顾展，展览由艾丽 西亚•莱格(Alicia Legg)担任策展人。
索尔•勒维特的作品已被诸多公共艺术机构收藏，包括纽约现代艺 术博物馆、惠特尼美国艺术博物馆、古根海姆美术馆、芝加哥艺术 博物馆、旧金山现代艺术博物馆、巴黎蓬皮杜艺术中心、阿姆斯特 丹市立博物馆、都灵里沃利城堡、斯德哥尔摩当代美术馆、伦敦泰特 美 术 馆 等 。 2 0 0 8 年 1 1 月 ，“ 索 尔 • 勒 维 特 : 墙 绘 回 顾 展 ” 于 马 萨 诸 塞当代艺术博物馆开幕，展览将持续 25 年。2018 年 9 月，索尔•勒 维特艺术家资产宣布由 Artifex Press 将《索尔•勒维特墙绘全集》(Sol LeWitt Wall Drawings Catalogue Raisonné)进行数字发行，这是对其 墙绘作品的一次综合呈现。

SOL LEWITT: WALL DRAWINGS Opening Friday, March 22 5 – 7 PM
March 22 – May 25, 2019

Perrotin Shanghai is proud to present Sol LeWitt: Wall Drawings, a landmark exhibition of this foremost figure of the American Conceptual and Minimal Art movements of the 1960s and 1970s. The exhibition focuses on LeWitt’s seminal wall drawings and includes 16 ink- wash works initially conceived in the 1980s and 1990s, including a monumental, immersive wall drawing spanning four walls. This marks the first exhibition of LeWitt’s wall drawings in mainland China.
Sol LeWitt exhibited widely in the 1960s, a time of great social and political change in the United States. Living and working in culturally rich and progressive New York City, the artist’s practice mined his interest in seriality, form, and color and increasingly probed the dematerialization of art. In 1967, LeWitt published “Paragraphs on Conceptual Art,” where he asserted that “the idea becomes a machine that makes the art.” This pioneering concept is exemplified in his ongoing series of wall drawings, for which rule-based installation instructions were conceived by the artist to be later carried out by assistants.
In the late 1980s, LeWitt devised a system of superimposing pigments, applied in layers, with ink-soaked rags. The wall drawings that comprise this exhibition make use of this technique to create luminous, multifaceted geometric and abstract forms. For example, wall drawings from the series Wall Drawing #606 A-K: Forms derived from a cubic rectangle, with color ink washes, are installed in a striking grid that spans an entire wall and implements the layered application of saturated gray, yellow, red, and blue planes of color. Meanwhile, the monumental Wall Drawing #624: On four walls, arcs 10 inches (25cm) wide from the midpoint of the right side of one wall, with alternating gray, white; yellow, white; red, white; blue, white bands, transforms an entire room with its ebullient curved bands. LeWitt’s methodical exploration of form and color and position that an idea is as important as the physical artwork continues to challenge notions of art production and the role of the artist.

About the Artist

Sol LeWitt (1928 – 2007) was born in Hartford, Connecticut, in a Russian-Jewish family. He graduated from Syracuse University in 1949 before serving in the Korean War. In 1953 he moved to New York where he worked as a graphic designer for magazines and, later, for an architect at I.M. Pei. LeWitt attended New York’s School of Visual Arts while working as a night clerk at the Museum of Modern Art. During this period, LeWitt was exposed to important works of modern art but perhaps one of the most formative discoveries during this period was of nineteenth-century photographer Eadweard J. Muybridge. Muybridge’s depiction of the phases of movement through serial images proved extremely influential to LeWitt, whose own work became increasingly concerned with seriality.
LeWitt’s work was first publicly exhibited in 1963 at St. Mark’s Church. His first one-person show was at the John Daniels Gallery in New York and since then, LeWitt has had hundreds of one-person exhibitions. The Gemeentemuseum in The Hague presented his first retrospective exhibition in 1970, and his work was later shown in a major mid-career retrospective curated by Alicia Legg at the Museum of Modern Art, New York in 1978. LeWitt’s works are in numerous public collections including the Museum of Modern Art, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Centre National d’Art Moderne Georges Pompidou, Paris, the Stedelijk Museum Amsterdam, Turin’s Castello di Rivoli, the Moderna Museet Stockholm and the Tate Gallery, London. In November 2008 “Sol LeWitt: A Wall Drawing Retrospective” opened at MassMOCA (Massachusetts Museum of Contemporary Art), and will remain on view for 25 years. In September 2018 the Estate of Sol LeWitt announced the digital publication of “Sol LeWitt Wall Drawings Catalogue Raisonné” by Artifex Press. This definitive collection features comprehensive information for LeWitt’s wall drawings.