Leu

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  • Condition Report

  • Provenance

    Galerie Perrotin, Hong Kong
    Acquired from the above by the present owner

  • Exhibited

    Seoul, Galerie Perrotin, Bernard Frize: Tongue and Groove, 30 August - 21 October 2017

  • Catalogue Essay

    Viscous brushstrokes of vibrant hues interweave in Leu, leaving no trace as to which mark met the canvas first. Seemingly opaque in its multilayered execution, yet simultaneously delicate with thinly applied paint – this present work is an arresting example of Bernard Frize’s abstract paintings. Working in a variety of materials and employing a multitude of techniques, the French visual contemporary artist is widely lauded for defying traditional notions associated with the medium. Industrial rather than figurative, and calculated rather than spontaneous, Frize’s paintings follow a strict set of choreographed conditions conceived by the artist prior to starting a series. Viewing the role of the creator as simply the developer of systems under which painting is reduced to the mere physical act, the artist’s practice is decidedly process-oriented and unconcerned with reaching a visual conclusion. Governed entirely by the materials themselves, a series is only completed when Frize feels the theory has been exhausted; however, drawing inspiration from Matisse who considered his own work his best inspiration, “a theory often leads [Frize] onto another theory, or another painting” (the artist quoted in Jennifer Sauer, “‘Bernard Frize is Beyond Abstraction”, CR Fashion Book, 22 April 2019, online). As curator Jean-Pierre Criqui noted of Frize’s practice, “The painting, then, is a consequence, a record rather than a goal the artist decided to achieve; it is the image of its own execution” (J. Criqui, ‘Bernard Frize: Musée d’Art Moderne de la Ville de Paris’, Artforum, November 2003, p. 183).

    Though Frize’s oeuvre bears similarities to that of his contemporaries working under movements and styles including Colour Field painting, Minimalism, Fluxus and Conceptual art – it occupies a unique position within the discourse of abstract painting. Ever evolving, Frize began his devoted experimentations with painting in the mid-1970s, at a time when many regarded the medium to be obsolete. Executed in 2015, the present work is thus a prime example of the artist’s mature practice: despite being devoid of conception, it is surprisingly complex with intriguing plays of colour and texture. With gestural motions of the brush making it impossible not to imagine the process happening in real-time, the canvas’s smooth plastic surface offers a curious juxtaposition. In combining synthetic resin with fluid acrylic paint, Frize consequently renders his brush marks flat, a style that has become a trademark of his practice.

    Frize’s sophisticated practice has garnered international acclaim. He has presented solo exhibitions in key galleries and museums throughout his career: in the past two years this has included Galerie Perrotin at their Paris, New York and Tokyo locations (2019), the Centre Pompidou in Paris (2019), Simon Lee Gallery in London (2018), and Girimart Gallery in Istanbul (2018). Today, Frize’s works are also found in numerous public collections, including the Tate Gallery in London, MUMOK in Vienna, Museo Nacional Centro de Reina Sofia in Madrid, the Museum of Contemporary Art in Los Angeles, and the Kunstmuseums in Basel and Zurich.

  • Catalogue Essay

    在作品《Leu》中,鮮麗的色彩以濃密的筆觸相互交織,絲毫不留下哪一個點最先觸及畫布的痕跡。看似有著並不透明的多層次呈現,卻同時又以稀薄的顏料精細地塗繪——本件作品是貝爾納‧弗里茨的抽象繪畫中的一件標誌性的動人之作。在創作上採用多種材料,運用多重技法,這位法國當代視覺藝術家因推倒人們對媒材的傳統觀念而廣受讚譽。理性的非具象,精心編排而非心血來潮,弗里茨在繪畫上遵循著一套由藝術家在開始創作一個系列之前就已編排好的先行條件。將創作者的角色僅僅看作是系統的開發者,而繪畫則只是按照該系統進行的一種單純的物理行為,藝術家的創作手法是高度面向過程的,且無關在於得出任何視覺上的結論。完全由材料本身所支配,當弗里茨感到一個理論已經消耗殆盡時一個系列才吿以完成;然而,從馬蒂斯所認為其最好的作品即是從他的靈感的論述中得到啟發,弗里茨認為「一個理論時常引向另一個理論,或者是另一幅繪畫」(藝術家引自Jennifer Sauer,《貝爾納‧弗里茨超出抽象之外》,《CR Fashion Book》,2019年4月22日,截自網路)。正如策展人尚-皮埃爾·克裏基對弗里茨的實踐所指出的,「畫作,當它,是一個結果,是一個紀錄而不是藝術家決定要達到的目標;它是其自身所呈現的鏡像」(皮埃爾·克裏著,《貝爾納‧弗里茨:巴黎市現代藝術博物館,《Artforum》,2003年11月,第183頁)。

    僅管弗里茨的作品與同時代創作色域繪畫、極簡主義、激浪派和觀念藝術等運動和風格的藝術家有著相似之處——他在抽象繪畫的語境中仍佔有獨特的地位。在不斷發展的過程中,弗里茨於1970年代中期開始致力於在繪畫上的實驗,而當時許多人將這一個媒介視為過時。創作於2015年,本件作品是藝術家創作成熟期的極佳典範:僅管缺乏概念,它對色彩和紋理的把玩仍然顯得迷人和超乎想像的豐富。作品展現的畫筆姿勢動態,讓人無法不去想像其進行中的創作過程,畫布平滑的表面呈現出奇異的並置。通過混合合成樹脂與壓克力顏料,弗里茨使他的畫筆的痕跡顯得平整,這種風格業已成為他的藝術標誌。

    弗里茨精進的創作為他贏得了國際性的讚譽。在他的職業生涯中,於許多重要的畫廊和美術館舉辦過個展:過去的兩年裏包括貝浩登在巴黎、紐約和東京的空間(2019年)、巴黎的蓬皮杜藝術中心(2019年)、倫敦Simon Lee畫廊,以及伊斯坦堡Girimart畫廊。如今, 弗里茨的作品還可以在眾多公共收藏中看到,包括倫敦的泰特美術館、維也納的MUMOK、馬德里的蘇菲亞王后國家藝術館、洛杉磯當代藝術博物館,以及巴塞爾美術館和蘇黎世美術館等。

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18

Leu

2015
signed, titled, numbered and dated '"LEU" 2015 034 Bernard FRIZE' on the overlap
acrylic and resin on canvas
160 x 140 cm. (62 7/8 x 55 1/8 in.)
Executed in 2015.

Estimate
HK$350,000 - 450,000 
€40,700-52,300
$44,900-57,700

Place Advance Bid
Contact Specialist
Charlotte Raybaud
Head of Evening Sale, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 24 November 2019