Gregor Hildebrandt
(GERMAN，B.1974)
The Beautiful Island (Madonna)
Executed in 2014 cassette tape and adhesive tape on canvas 192.3×174.4×3.5cm
Provenance:
Perrotin Gallery，Paris Acquired directly from the above by the present owner

The Berlin-based artist Gregor Hildebrandt makes installations，sculptures，and works on canvas. His materials are，amongst other things，record carriers for sound and film，such as cassette tapes，videotapes，and vinyl records. His formal vocabulary is grounded in minimalism，but his works are charged with numerous associations. Even though there is no sound in his exhibitions，Gregor Hildebrandt’s installations，objects，and pictures exude an intensity that goes beyond their mere physical components. They are stores of pop-cultural memories that contribute to identity formation.
In Gregor Hildebrandt’s large-format canvases，cassette tapes or old VHS tapes are accurately glued in parallel lines and result in finely nuanced colour tones as well as differing surface effects such as roughness and smoothness，and reflections，as in non- representational painting with its refined use of color and its interaction with the canvas ground. The effect of the images dominated by dark tones suggests comparisons with American abstraction of the 1950s and 1960s.
Although apparently similar to American abstraction，the differences to the abstract-expressive and minimalistic “classics” of the 1950s to the 1970s，are，however，unmistakable and begin with the use of “found footage” instead of traditional oil colour. Although Hildebrandt evokes a similarly melancholic mood through the dominant use of black，as does，for example，Ad Reinhardt，the strongly minimalistic ensemble stands not only for an introverted self-reference，it also unfolds a broad potential for association applied consciously by the artist. The tapes that Hildebrandt uses contain pieces of music that，although they can no longer be heard，are referenced by the image titles and reflect Hildebrandt’s preferred musical genres. Punk and rock bands of the 1980s and 1990s like The Cure，Bauhaus and Einstürzende Neubauten are found alongside a representative of New music Arvo Pärt.

来源：
贝浩登画廊
现藏家购于上述画廊

柏林艺术家雷戈尔·希德布兰特的艺术创作涵盖装置、雕塑和架上绘画。所用的材料多是纪录声音和影像的载体，如录音带、录影带和黑胶唱片等。其正式的艺术语汇虽然植根于极简主义，但作品中充斥着众多的关联性。即使是无声的展览，雷戈尔·希德布兰特的装置、物件和图片也能散发出超越单纯物理部件的张力，它们是流行文化身份形成的记忆。
雷戈尔·希德布兰特的大幅绘画、盒式磁带或旧式 VHS 磁带被精确地粘连成平行的线阵，呈现精细微妙的色调和不同的表层效果，如粗糙度、平滑度、反射性。正如非写实绘画中，细腻的色彩运用和与画布的相互作用。 图像效果以暗色调为主，旨在比较50、60两个年代的美国抽象主义。
这种风格尽管显然类似美国的抽象主义，但毫无疑问，不同于50至70年代的抽象表达和经典极简的是，艺术家开始使用“现成录影”，而不是传统的油画颜料。虽然希德布兰特通过大面积的黑色表达出一种近似阿德·莱因哈特的忧郁情绪，强烈的极简主义画风不仅指向艺术家内向的本我，也展现了巨大的潜力，让人思考艺术家的有意设定。希德布兰特使用的磁带囊括当今再也无法聆听的音乐作品，每首曲目都配有图像标题，折射出希德布兰特偏好的音乐流派，包括上世纪80年代和90年代的朋克和摇滚乐队，比如 The Cure ，包豪斯（ Bauhaus ）和 德国工业乐队（Einstürzende Neubauten），以及阿弗·帕特（Arvo Pärt）等新音乐的代表。