FARBENWERDEN

MichaelGrowe

2017

绎 · 彩

米舍2017年沈阳个展

“Why shall I still paint today? (...when there are far too manyother possibilities to create/generate pictures today)”

                                                                                            -Michael Growe

“当今有太多其他的方法可以生产图画，我为何还要继续画画呢？”-米舍

In Michael Growe's belief, there is not much point in imitatingnature, copying it formally. His focus is to address the creation of apainting, to develop its formation by making use of the potentials of colour.You can only create a whole in terms of process of formation; in terms ofnature you can only ever create a clipping. He was never interested in that.

米舍认为，单纯模仿或者形式地拷贝自然都是没有太多意义的。他的重点是专注于绘画作品的创作过程，通过运用色彩的潜在力量来完成创作。只有通过创作和作品形成的过程，才有可能创作一个完整的个体，而通过拷贝自然和物理世界，你充其量只能抽取它的一个片段，对后者他从来都没有兴趣。

Visual cognition of the material world basically could beunderstood as a reception of colours and shapes. In our eyes we differentiatecolours and shapes and seem to recognize things.

我们对于物质世界的视觉认知基本上可以被理解为对于色彩和形状的接受。我们的眼睛区别颜色和形状，似乎可以辨别观察的对象。

While fabricating a painting at first colour is always material(paint for instance).

We do work with substances, materials to give some non-substantialquality to our work. Beside many other also eminent features, one specificquality is the possibility to experience space. Interaction of colour may evokean illusion of three-dimensionality.

在作画时，色彩首先总是以物质（例如：颜料）的形式存在。而我们运用这些物质和材料来赋予作品非物质的特质。除了其他许多显著的特质以外，一个特定的特质便是体验空间的可能性。而色彩的交互可以引发三维的幻觉。

The word “reflection”, besides referring to an optical phenomenon,also means the attempt to gain new insights through perception. “Fromperception to self-perception and back” has always been an interesting journeyfor Michael Growe. And his works are his method to enlarge/enhanceself-awareness.

“映像或者反射”，除了意指一种光学现象以外，也有努力通过知觉获得全新领悟的含义。从感知到自我感知再回到感知，对于米舍这一直是一个有趣的历程。他的作品即是他用来放大和强化自我意识的手段

Michael Growe’s sculptures are called TROY HORSES. “Troyhorse" is used to depict the dual nature/feature of the art piece. As theviewers approach it closer and explore it more exhaustively, they willexperience a journey/discovery on how an illusion of colours (a painting)develops into a 3-D substance (a sculpture) and further evolves into somethingof practical usages/applications. Therefore the practical function of thesculpture plays the trick to hook the originally befuddled viewers out of thewoods and to propel them to leap over the gap between them and abstract arts.Also the set-up of the sculpture in an exhibition room enables a dialog betweenthe different pieces of sculptures and an interaction between the art pieces andtheir host environment.

米舍的雕塑作品名为“特洛伊木马”。“特洛伊木马”的名称是用来描述这些艺术作品的双重特征。当观察者走近它们，并且对它们进行充分的探索之后，他们会得到这样一种体验：色彩的幻觉（绘画）变成了三维物体（雕塑），又进而演化成具有实际功用的物件。因此雕塑作品的具体而实际的功能起到了一个桥梁作用：引导原先对于抽象艺术略显困惑的观众走出迷宫，越过横亘于普通欣赏者和抽象艺术之间的鸿沟。

并且，雕塑作品在展室中的陈列和布置促成了不同作品之间的对话，以及所有被陈列的艺术作品和它们的陈列空间和环境之间的互动。

Some of Michael Growe’s paintings appear framed. The painted frameevokes an illusion of a view through a window. But the frame itself is a partof the illusion. The frames appear 3-D. As the conventional 2-D paintings mayincline the viewers to neglect/ignore the fact of paintings‘ being objects, theimpluse of the viewer to “peer” through the “window”, as prompted by the frame,seems to do just the opposite, i.e., bringing back the experiences of theobjects.

米舍的某些绘画作品都看似带有画框（实则是画上去的）。画框产生了透过窗户看到的视图的幻觉。但是画框本身就是幻觉的一部分。画框看上去也是三维的。通常的两维绘画作品或许会让观众忽视甚至忘记一个事实：绘画是关于物体的。而画框则起到了反向的作用，它让观众产生了“透过窗户去看”的冲动，于是为观众带回了关于物体的体验。

“Processing paintings without declared aim. The purpose is to makethe painting paint itself. My painting does not represent anything else but apainting.”

Michael Growe

“创作，而不带有任何公然宣称的目的。让一幅画绘出它自己，那就是我的目的。我的画不代表任何其他东西，它只代表画本身。” –米舍

艺术家简介：

MichaelGrowe 米舍

1960born in Warburg Germany

1960年生于德国Warburg

1983– 89 Studies at the Kunstakademie Düsseldorf (Arts Academy of the city ofDüsseldorf)

1983-1989年，在杜塞尔多夫艺术学院就读

1989Meisterschüler (Master Student)

1989年大师生

MichaelGrowe works and lives in Cologne, Shanghai and at the Raketenstation Hombroich.

MichaelGrowe 目前在科隆、上海以及RaketenstationHombroich 工作和生活

（个人网页      http://www.michaelgrowe.de）

公共空间作品收藏:

•Aachen, Museum in der ehemaligen Reichsabtei Kornelimünster

Reichsabtei Kornelimünster 博物馆，德国亚琛

•Düsseldorf, Museum Kunstpalast

艺术宫博物馆，德国杜塞尔多夫

•Frankfurt, Deutsche Bank

德意志银行，德国法兰克福

•Frankfurt, KFW Bankengruppe

德国复兴信贷银行，德国法兰克福

•Kaiserslautern, Museum

Pfalz-Galerie Pfalz-Galerie 博物馆，德国凯撒斯劳滕

•Kleve, Museum

Kurhaus Kurhaus 博物馆，德国克莱沃

•Köln, Museum für angewandte Kunst

应用艺术博物馆，德国科隆

•Köln, Bankhaus Oppenheim

奧本海姆银行，德国科隆

•Köln, Stadtsparkasse

联邦储蓄银行，德国科隆

•Krefeld, Deutsches Textilmuseum

德意志纺织博物馆，德国克雷费尔德

•Krefeld, Volksbank

人民银行，德国克雷费尔德

•Mülheim an der Ruhr, Kunstmuseum

艺术博物馆，德国鲁尔河畔米尔海姆

•München, Bayrische Hypo-Bank

德国裕宝联合银行，德国慕尼黑

•Neuss, Museum Insel Hombroich

Insel Hombroich博物馆，德国诺伊斯

•Shanghai, Museum of College of Fine Arts, Shanghai University

上海大学美术学院博物馆，中国上海