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Georg Baselitz

Years later

May 21–August 8, 2020
Hong Kong

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Installation video

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Installation view Artwork © Georg Baselitz. Photo: Martin Wong

Installation view

Artwork © Georg Baselitz. Photo: Martin Wong

Works Exhibited

Georg Baselitz, Madame Demoisielle weit weg von der Küste (Madame Demoiselle a long way from the coast), 2019 Oil on canvas, 118 ⅞ × 168 ⅛ inches (302 × 427 cm)© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz, Madame Demoisielle weit weg von der Küste (Madame Demoiselle a long way from the coast), 2019

Oil on canvas, 118 ⅞ × 168 ⅛ inches (302 × 427 cm)
© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz, Schwarz mit Ölfleck (Black with oil stain), 2019 Oil and painter’s gold varnish on canvas, 118 1⁄8 × 83 1⁄2 inches (300 × 212 cm)© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz, Schwarz mit Ölfleck (Black with oil stain), 2019

Oil and painter’s gold varnish on canvas, 118 1⁄8 × 83 1⁄2 inches (300 × 212 cm)
© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz, Schatten ist nicht drin (Shadow doesn’t come into it), 2019 Oil and painter’s gold varnish on canvas, 118 1⁄8 × 68 1⁄2 inches (300 × 174 cm)© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz, Schatten ist nicht drin (Shadow doesn’t come into it), 2019

Oil and painter’s gold varnish on canvas, 118 1⁄8 × 68 1⁄2 inches (300 × 174 cm)
© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz, Da sind zwei Figuren im alten Stil (That’s two figures in the old style), 2019 Oil and painter’s gold varnish on canvas, 118 ⅛ × 83 ½ inches (300 × 212 cm)© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz, Da sind zwei Figuren im alten Stil (That’s two figures in the old style), 2019

Oil and painter’s gold varnish on canvas, 118 ⅛ × 83 ½ inches (300 × 212 cm)
© Georg Baselitz. Photo: Jochen Littkemann

Georg Baselitz’s studio, Ammersee, Germany, 2019 Artwork © Georg Baselitz. Photo: Ealan Wingate

Georg Baselitz’s studio, Ammersee, Germany, 2019

Artwork © Georg Baselitz. Photo: Ealan Wingate

About

Art is visceral and vulgar—it’s an eruption.
—Georg Baselitz

Gagosian is pleased to present Years later, an exhibition of new paintings and works on paper by Georg Baselitz. This is his first solo exhibition with the gallery in Hong Kong. Significantly, it is also the first exhibition to open to the public within our international network of galleries since the global COVID-19 lockdown. We are grateful to once again be able to present physical artworks in an exhibition conceived specifically for the Hong Kong gallery and its context, and we look forward to welcoming the public back to view and celebrate the work of a great living master.

An early pioneer of the Neo-Expressionist movement that had its origins in postwar Germany, Baselitz combines a vigorous and direct approach to art making with a sensitivity to art historical lineages. He counts Willem de Kooning and Philip Guston among his key influences, and is known for his uncompromising approach and critical stance. In 1969, he began to compose his images upside down to slow the processes of making, looking, and comprehending. Over the past fifty years, often referring to and reinterpreting his own body of work, he has further augmented his visual language with a range of formal and historical allusions yet has consistently returned to the human figure as his central motif.

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2020年5月8日

「藝術是源自本能和原始的──是一種爆發。」
—喬治·巴塞利茲

高古軒欣然呈獻「數年之後」展覽,展出喬治·巴塞利茲的最新創作的油畫和紙本作品。這是巴塞利茲在香港高古軒畫廊舉行的首場個展,也是自受新冠肺炎影響封城抗疫以來,在全球高古軒畫廊中首場重新開幕的展覽,別具意義。高古軒很高興能再次在特別為香港畫廊及其環境而構思的展覽中展示實體藝術品,並殷切期待與公眾一同欣賞和頌揚這位在世藝術大師的精彩力作。

巴塞利茲是源於戰後德國的新表現主義運動的先行者,擅長以充滿力量而直接的手法創作,展現他對藝術歷史脈絡的敏銳觸覺。巴塞利茲深受威廉·德·庫寧(Willem de Kooning)和菲利普·古斯頓(Philip Guston)啟發,他亦以堅毅的創作手法和批判態度見稱。於1969年,他開始創作上下倒轉的畫作,以放慢製作、觀賞和理解作品的過程。在過去50年裡,他亦經常借用和重新演繹自己的作品,透過一系列形式上和歷史性的隱喻以擴展其視覺語言,同時持續以人像作為核心主題。

展覽的焦點為13幅巴塞利茲以「對印」技術創作的大型油畫,與他在「如果…」(What if…,2019年)系列作品中所用的技巧有關,該系列於今年初在三藩市高古軒畫廊展出。創作新黑金色的畫作時,他利用模板在空白畫布上繪製倒轉的人物,並只在背景塗上顏色,形成奪目的剪影。然後,他將一塊黑色畫布蓋在這塊畫布上按壓,再將之揭起,形成比直接繪畫更加柔和的圖像。這種混合手法不僅強調媒材多於圖像,更帶有一種不可預知的特性,體現自由與活力。在唯一一幅粉紅色的畫作中,巴塞利茲在沒有模版的情況下以正像刻劃人物。

由於部分物料受轉印技術影響耗損,「數年之後」展出的作品帶有明顯的自然變化,結合了巴塞利茲進行觸覺干預留下的痕跡,以及「對印」過程中形成的印記。這種變化為表面增添一種張力,而畫板之間的微妙相似之處和差異,亦為整個系列增添動感節奏,呼應移動中的人體。當一個圖像衍生出另一個圖像時,人物變得模糊,並逐漸與背景融合,將主體融入背景、人性融入現實。巴塞利茲透過這些畫作充分展示了時代現實黑暗和混亂的本質。

展覽將出版附有精美插圖的展覽圖錄,收錄由曾梵志撰寫的前言及魯明軍執筆的文章。

訪客需知
高古軒將會遵照香港政府有關社交距離、訪客及職員安全的衛生指引而重新開放。

媒體查詢

Sutton
盧靜敏
carol@suttoncomms.com
+852 2528 0792

高古軒
presshk@gagosian.com
+852 2151 0555

Hong Kong

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+852 2151 0555
hongkong@gagosian.com

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Press

Sutton
Carol Lo
carol@suttoncomms.com
+852 2528 0792

Bolton & Quinn
+44 20 7221 5000

Erica Bolton
erica@boltonquinn.com

Daisy Taylor
daisy@boltonquinn.com

Gagosian
presshk@gagosian.com
+852 2151 0555

News

Georg Baselitz: Years later (New York: Gagosian, 2020)

Online Reading

Georg Baselitz
Years later

Georg Baselitz: Years later is available for online reading from May 18 through August 8 as part of the From the Library series. The book documents an exhibition of new paintings and works on paper by Baselitz opening at Gagosian in Hong Kong on May 21, the first show to open to the public within our international network of galleries since the global COVID-19 lockdown. The bilingual English-Chinese publication includes a foreword by Zeng Fanzhi and essay by Lu Mingjun.

Read Online Now

Georg Baselitz: Years later (New York: Gagosian, 2020)