![A portrait of Raul De Keyser.](https://assets.davidzwirner.com/v7/_assets_/davidzwirner/common/1px.png)
Raoul De Keyser, c. 2007 (detail). Photo by Stephan Peleman
拉烏爾·德·凱澤,約2007年(細節)。攝影/Stephan Peleman
Raoul De Keyser, c. 2007 (detail). Photo by Stephan Peleman
拉烏爾·德·凱澤,約2007年(細節)。攝影/Stephan Peleman
David Zwirner is pleased to present Raoul De Keyser, on view at the gallery’s Hong Kong location. The first solo show of the artist’s work in Greater China, the exhibition will feature paintings from the last twenty-five years of De Keyser’s five-decade career, illustrating his intuitive—yet rigorous—facility with his medium. Complementing the presentation in Hong Kong will be an online exhibition, New Visions: After De Keyser, that situates the late Belgian painter in dialogue with contemporary painters whose art continues to relate to or be informed by his pioneering compositions.
卓納畫廊欣然於香港空間呈現《拉烏爾·德·凱澤》。這將是藝術家在大中華地區的首次個展,聚集橫跨德·凱澤五十多年職業生涯中後二十五年間的繪畫作品,呈現了藝術家對繪畫媒介所抱持的充滿直覺而又嚴謹的創作天賦。此外,線上展覽《新視野:致敬德·凱澤》將與香港展覽同期舉辦,以使這位已故比利時抽象畫家的作品與當代畫家們進行對話,後者的藝術至今仍然與德·凱澤開創性的作品密切相關或深受其影響。
Image: Raoul De Keyser, Passage, 2010 (detail)
拉烏爾·德·凱澤,《旅程》, 2010年 (細節)
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Raoul De Keyser, c. 2007 (detail). Photo by Stephan Peleman
拉烏爾·德·凱澤,約2007年(細節)。攝影/Stephan Peleman
Raoul De Keyser, c. 2007 (detail). Photo by Stephan Peleman
拉烏爾·德·凱澤,約2007年(細節)。攝影/Stephan Peleman
“Painting is for me the ideal freedom.”
「對我而言,繪畫就是理想中的自由。」
—Raoul De Keyser
——拉烏爾·德·凱澤
Installation view, Raoul De Keyser, David Zwirner, Hong Kong, 2021
展覽現場,《拉烏爾·德·凱澤》,卓納畫廊香港空間,2021年
Installation view, Raoul De Keyser, David Zwirner, Hong Kong, 2021
展覽現場,《拉烏爾·德·凱澤》,卓納畫廊香港空間,2021年
“Raoul De Keyser painted as if he were looking through a window with the curtains drawn.”
「拉烏爾·德·凱澤的繪畫,仿佛他是從簾幕垂墜的窗戶向外望去。」
—Jan Hoet, critic, curator, and founder of S.M.A.K.
——揚·荷特,藝評家、策展人及S.M.A.K.創始人
Excerpt from the documentary Raoul De Keyser: Ook de terugkeer is een reis (The return is also a journey) (2010) by Jan Blondeel, which is on view in the gallery as part of the exhibition
節選自紀錄片《拉烏爾·德·凱澤:歸途亦是旅程》(2010),揚·布朗德爾(Jan Blondeel)創作,本片亦於展覽同期在香港畫廊放映
“De Keyser’s oeuvre is a passionate endeavor, one long tentative exploration, a profound human quest for existence and meaning.”
「德·凱澤的創作是熱忱的付出、长期的探索、對人類生存及意義的深刻追索。」
—Luk Lambrecht, curator
——盧·蘭布雷希特,策展人
Still from the documentary Raoul De Keyser: Ook de terugkeer is een reis (The return is also a journey) (2010) by Jan Blondeel, which is on view in the gallery as part of the exhibition
節選自紀錄片《拉烏爾·德·凱澤:歸途亦是旅程》(2010),揚·布朗德爾(Jan Blondeel)創作,本片亦於展覽同期在香港畫廊放映
In October 2022, M WOODS will open a major presentation of Raoul De Keyser’s work in Beijing—the first museum exhibition in Asia for the artist—which will be guest-curated by independent curator Martin Germann.
2022年10月,北京木木美術館將舉辦德·凱澤的個展。這將是藝術家首個亞洲地區的博物館個展,由獨立策展人馬丁·格曼擔任特邀策展人。
“He is the most fascinating, the most exciting, the most adventurous and the most elusive figure in Belgian painting after the war.… His paintings have a sensitivity, a tactility which is difficult to capture in the current art experience. In this digital age, people are losing touch with matter. Raoul’s work is matter.“
「他是戰後比利時繪畫中最具魅力、最令人振奮、最富冒險精神也最難以捉摸的人物……他的繪畫獨具敏銳與觸感,這在當下的藝術體驗中難能可貴。數碼時代的人們常常會與事物脫離具體的接觸。拉烏爾的作品就是真實可感的事物。」
—Martin Germann
——馬丁·格曼
Installation view, Raoul De Keyser: Oeuvre, Pinakothek der Moderne, Munich, 2019
展覽現場,《拉烏爾·德·凱澤:畢生之作》,慕尼黑現代藝術陳列館,2019年
Installation view, Raoul De Keyser: Oeuvre, Pinakothek der Moderne, Munich, 2019
展覽現場,《拉烏爾·德·凱澤:畢生之作》,慕尼黑現代藝術陳列館,2019年
Installation view of Raoul De Keyser’s work in 52nd International Art Exhibition – La Biennale di Venezia, Think with the Senses – Feel with the Mind: Art in the Present Tense, Venice, 2007
拉烏爾·德·凱澤的作品在第52屆威尼斯雙年展《以感官思考,用思想感受》展覽現場,2007年
Installation view of Raoul De Keyser’s work in 52nd International Art Exhibition – La Biennale di Venezia, Think with the Senses – Feel with the Mind: Art in the Present Tense, Venice, 2007
拉烏爾·德·凱澤的作品在第52屆威尼斯雙年展《以感官思考,用思想感受》展覽現場,2007年
Installation view, Raoul De Keyser: Drift, David Zwirner, New York, 2016
展覽現場,《拉烏爾·德·凱澤:漂流》,卓納畫廊,紐約,2016年
Installation view, Raoul De Keyser: Drift, David Zwirner, New York, 2016
展覽現場,《拉烏爾·德·凱澤:漂流》,卓納畫廊,紐約,2016年
“Mr. De Keyser became one of the most respected painters of his time, but slowly. For much of his fifty-year career he exhibited primarily in Belgium and the Netherlands, achieving international recognition only after his work was included in the 1992 Documenta exhibition in Kassel, Germany.”
「德·凱澤先生成為了他的時代里最受人敬仰的畫家之一,但是過程十分緩慢。他五十年職業生涯中的許多展覽都主要舉辦於比利時和荷蘭,直到1992年參展德國卡塞爾文獻展才讓他收獲了國際性的盛名。」
—Roberta Smith, The New York Times
——羅伯塔·史密斯,《紐約時報》
One of Raoul De Keyser’s most significant works, Front was first exhibited at Documenta IX in 1992, a key moment in the artist’s rise to prominence.
《前方》是德·凱澤最重要的作品之一,首次展出於1992年的第九屆卡塞爾文獻展,這是藝術家日漸廣為人知的重要時刻。
De Keyser created this work by throwing his brush and paint tube at the canvas from a short distance to leave behind painterly marks. In doing so, writes art historian Bernhart Schwenk, he “transferred the impulse to the painting tool, unlike an artist working expressively.”
德·凱澤在創作時,會與畫布保持一小段距離,將筆刷和顏料管直接甩向畫面,以留下繪畫的筆觸。如藝術史學者伯恩哈特·史威克(Bernhart Schwenk)所說,以這種方式,他「將力量轉化到了繪畫工具之上,這與那些表現主義藝術家的方法不同。」
Installation view of Raoul De Keyser’s Front (1992) at Raoul De Keyser, David Zwirner, Hong Kong, 2021
拉烏爾·德·凱澤的作品 《前方》(1992年)在卓納畫廊香港空間,2021年
Installation view of Raoul De Keyser’s Front (1992) at Raoul De Keyser, David Zwirner, Hong Kong, 2021
拉烏爾·德·凱澤的作品 《前方》(1992年)在卓納畫廊香港空間,2021年
Raoul De Keyser, Front, 1992 (detail)
拉烏爾·德·凱澤, 《前方》, 1992年 (細節)
Raoul De Keyser, Front, 1992 (detail)
拉烏爾·德·凱澤, 《前方》, 1992年 (細節)
Installation view of Raoul De Keyser's Front (1992) at Raoul De Keyser: Drift, David Zwirner, New York, 2016
拉烏爾·德·凱澤的作品《前方》(1992年)在《拉烏爾·德·凱澤:漂流》展覽現場,卓納畫廊紐約空間,2016年
Installation view of Raoul De Keyser's Front (1992) at Raoul De Keyser: Drift, David Zwirner, New York, 2016
拉烏爾·德·凱澤的作品《前方》(1992年)在《拉烏爾·德·凱澤:漂流》展覽現場,卓納畫廊紐約空間,2016年
Raoul De Keyser with Bernd Lohaus at Documenta IX, Aue-Pavillons, Kassel, 1992. Photo by Anny De Decker
拉烏爾·德·凱澤與伯恩德·洛豪斯(Bernd Lohaus)在第九屆卡塞爾文獻展上,卡塞爾奧爾展館,1992年。攝影/ Anny De Decker
Raoul De Keyser with Bernd Lohaus at Documenta IX, Aue-Pavillons, Kassel, 1992. Photo by Anny De Decker
拉烏爾·德·凱澤與伯恩德·洛豪斯(Bernd Lohaus)在第九屆卡塞爾文獻展上,卡塞爾奧爾展館,1992年。攝影/ Anny De Decker
“In the case of De Keyser, the autonomy of painting is not an overarching, ultimate goal to be reached by a detour through its opposite. Rather, by referring to other images, De Keyser succeeds in creating a situation in which his painting is kept free from pure subjective construction and is able, through mimesis, to acknowledge a reality outside itself.”
「就德·凱澤而言,繪畫的自主性並不是需要迂回曲折或背道而馳才能達到的包羅萬象的終極目標。相反,通過對其他圖像的指涉,德·凱澤成功地營造了一種情景,在其中,他的繪畫擺脫了純粹主觀的建構,並且經由模仿,使得繪畫可以捕捉到獨立於其自身之外的現實。」
—Ulrich Loock, critic and curator
——烏爾里希·洛克,藝評家和策展人
Raoul De Keyser with (from left) Hanna Schouwink, David Zwirner, Eugenia Lai, Niel Frankel, and Bellatrix Hubert at Raoul De Keyser: Remnants, David Zwirner, New York, 2003. Photo by Lia Schelkens
拉烏爾·德·凱澤與漢娜·施沃溫克、大衛·卓納、尤金妮·萊、尼爾·弗蘭克爾和貝拉翠克斯·胡伯特(左起),在展覽《拉烏爾·德·凱澤:殘餘》上,卓納畫廊,紐約,2003年。攝影/Lia Schelkens
Raoul De Keyser with (from left) Hanna Schouwink, David Zwirner, Eugenia Lai, Niel Frankel, and Bellatrix Hubert at Raoul De Keyser: Remnants, David Zwirner, New York, 2003. Photo by Lia Schelkens
拉烏爾·德·凱澤與漢娜·施沃溫克、大衛·卓納、尤金妮·萊、尼爾·弗蘭克爾和貝拉翠克斯·胡伯特(左起),在展覽《拉烏爾·德·凱澤:殘餘》上,卓納畫廊,紐約,2003年。攝影/Lia Schelkens
“By this standard De Keyser more than anyone of his generation or of more recent generations rolled the dice of history with nothing in his favor but raw talent and conviction.”
「以這樣的標準來看,德·凱澤比起同代或是更近代的任何藝術家來說,都更加努力地推動著歷史的發展,而他所擁有的只是自己純粹的天賦與信念。」
—Robert Storr, critic and curator
——羅伯特·斯托爾,藝評家和策展人
Installation view, Raoul De Keyser, David Zwirner, Hong Kong, 2021
展覽現場,《拉烏爾·德·凱澤》,卓納畫廊香港空間,2021年
Installation view, Raoul De Keyser, David Zwirner, Hong Kong, 2021
展覽現場,《拉烏爾·德·凱澤》,卓納畫廊香港空間,2021年
Installation view, Raoul De Keyser, David Zwirner, Hong Kong, 2021
展覽現場,《拉烏爾·德·凱澤》,卓納畫廊香港空間,2021年
Installation view, Raoul De Keyser, David Zwirner, Hong Kong, 2021
展覽現場,《拉烏爾·德·凱澤》,卓納畫廊香港空間,2021年
Inquire about works by Raoul De Keyser
問詢拉烏爾·德·凱澤作品
Four (4) parts
Part 1: 10 5/8 x 8 5/8 inches (27 x 21.9 cm)
Part 2: 11 x 9 1/4 inches (27.9 x 23.5 x 1.9 cm)
Part 3: 11 3/4 x 9 5/8 inches (29.8 x 24.4 x 1.9 cm)
Part 4: 11 3/4 x 9 3/8 inches (29.8 x 23.8 cm)
Three (3) parts
Part 1: 17 3/8 x 13 1/2 inches (44.1 x 34.3 cm)
Part 2: 17 3/8 x 13 1/2 inches (44.1 x 34.3 cm)
Part 3: 11 x 8 inches (27.9 x 20.3 cm)