作品信息
艺术家：马丁·埃德
作品名：最终沉默
质 地：纸上石墨
尺 寸：64×48cm
编 号：0909
估 价：咨询价
成交价：未成交
马丁·埃德 最终沉默 匡时香港2017秋季拍卖会 正是此刻——西方艺术私人洽购展览 作品号：0909 2017-09-30 ~ 2017-10-02
Martin Eder
(GERMAN，B.1968)
Endlich Ruhe- Finally Silence
Executed in 2005 graphite on handmade paper 64×48cm
Provenance:
Private Collection，China
“I choose subjects that I like but that are also of interest to others. My art is very naive. I don’t make art for the handful of intellectuals，art critics and curators. First and foremost，I make art for the “others”. My exhibitions are not exclusive either，nobody is excluded，everybody is welcome: the intellectuals and the intelligent，although I make art that can be understood by people from all walks of life. This is directly related to my complete conviction that art is eternal.” Martin Eder
Eder paints from photographs that he has taken，which together with his deployment of technique and illusory devices positions his persona at the centre of the narratives. Brought up in Catholic Bavaria，he has spoken of a “fundamentalist
form of dedication” that drives the dark symbolism and fervor of his works. His women are painted in styles that variously recall Botticelli，Cranach，Renoir and Manet，yet his subjects are undressed rather than nude. Their hairstyles，preened and made-up faces and soft-core poses parade a very contemporary attitude； their hallucinatory and claustrophobic predicaments are akin to those of the films of David Lynch. Eder’s works comment on the current health of society and of art，his fetishistic imaginary worlds reflecting the writings of Marx and Freud on the painted canvas. “I’m deliberately exposing myself to criticism that it is exploitation，” the artist explains. “But on the other hand，isn’t arousal，if it’s present at all，a rebellion against death?”
来源：
中国 私人收藏
“我选择自己喜欢且别人也会感兴趣的作品进行创作。我的作品非常天真。我不为少部分的知识分子，艺术评论家和策展人创作。对我来说第一位也是最重要的是为“其他人”创作艺术。我的展览也不小众，没有人会被排除在外，所有人都受欢迎：包括知识分子和专家，我的作品是所有背景的人都可以理解的。这个认知和我坚信艺术是永恒的有很大关系。”—马丁·埃德
埃德参考他拍摄的照片画画，并通过技巧和表现方式，将他的个人理解放在作品叙事的中心。埃德在天主教的巴伐利亚长大，一种“根源上的奉献性信仰”使得他的作品充满黑暗的符号与情感。埃德描绘的女性形象对波提切利，卡拉纳其，雷诺尔和马内的风格有着一定的借鉴，但是他的主角并不只是裸露的躯体。她们的发型，精心打扮的脸庞轮廓和柔美的姿势都透露着一种当代感；画面那种仿佛幽闭恐惧式的感觉近似于大卫·林奇的电影。埃德的作品对当下的社会健康与艺术进行评论，他通过展现迷幻的臆想世界在画面上反映了马克斯和弗罗伊德的写作。艺术家解释道：“我刻意的让我自己暴露在批评中，这也是一种利用。但是在另一方面，如果存在的话，是一种对死亡的叛逆。”
(GERMAN，B.1968)
Endlich Ruhe- Finally Silence
Executed in 2005 graphite on handmade paper 64×48cm
Provenance:
Private Collection，China
“I choose subjects that I like but that are also of interest to others. My art is very naive. I don’t make art for the handful of intellectuals，art critics and curators. First and foremost，I make art for the “others”. My exhibitions are not exclusive either，nobody is excluded，everybody is welcome: the intellectuals and the intelligent，although I make art that can be understood by people from all walks of life. This is directly related to my complete conviction that art is eternal.” Martin Eder
Eder paints from photographs that he has taken，which together with his deployment of technique and illusory devices positions his persona at the centre of the narratives. Brought up in Catholic Bavaria，he has spoken of a “fundamentalist
form of dedication” that drives the dark symbolism and fervor of his works. His women are painted in styles that variously recall Botticelli，Cranach，Renoir and Manet，yet his subjects are undressed rather than nude. Their hairstyles，preened and made-up faces and soft-core poses parade a very contemporary attitude； their hallucinatory and claustrophobic predicaments are akin to those of the films of David Lynch. Eder’s works comment on the current health of society and of art，his fetishistic imaginary worlds reflecting the writings of Marx and Freud on the painted canvas. “I’m deliberately exposing myself to criticism that it is exploitation，” the artist explains. “But on the other hand，isn’t arousal，if it’s present at all，a rebellion against death?”
来源：
中国 私人收藏
“我选择自己喜欢且别人也会感兴趣的作品进行创作。我的作品非常天真。我不为少部分的知识分子，艺术评论家和策展人创作。对我来说第一位也是最重要的是为“其他人”创作艺术。我的展览也不小众，没有人会被排除在外，所有人都受欢迎：包括知识分子和专家，我的作品是所有背景的人都可以理解的。这个认知和我坚信艺术是永恒的有很大关系。”—马丁·埃德
埃德参考他拍摄的照片画画，并通过技巧和表现方式，将他的个人理解放在作品叙事的中心。埃德在天主教的巴伐利亚长大，一种“根源上的奉献性信仰”使得他的作品充满黑暗的符号与情感。埃德描绘的女性形象对波提切利，卡拉纳其，雷诺尔和马内的风格有着一定的借鉴，但是他的主角并不只是裸露的躯体。她们的发型，精心打扮的脸庞轮廓和柔美的姿势都透露着一种当代感；画面那种仿佛幽闭恐惧式的感觉近似于大卫·林奇的电影。埃德的作品对当下的社会健康与艺术进行评论，他通过展现迷幻的臆想世界在画面上反映了马克斯和弗罗伊德的写作。艺术家解释道：“我刻意的让我自己暴露在批评中，这也是一种利用。但是在另一方面，如果存在的话，是一种对死亡的叛逆。”
