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艾德里安 格尼

傀儡

Adrian Ghenie, installation shot.

Adrian Ghenie, installation shot.

Adrian Ghenie, installation shot.

Adrian Ghenie, installation shot.

Adrian Ghenie, installation shot.

Adrian Ghenie, installation shot.

Adrian Ghenie Adrian Ghenie, The Darwin Room, 2013–2014. Mixed media, installation, 350 x 435 x 735cm.

Adrian Ghenie Adrian Ghenie, The Darwin Room, 2013–2014. Mixed media, installation, 350 x 435 x 735cm.

Adrian Ghenie Adrian Ghenie, Self-Portrait as Charles Darwin, 2014. Oil on canvas, 60 x 47cm.

Adrian Ghenie Adrian Ghenie, Self-Portrait as Charles Darwin, 2014. Oil on canvas, 60 x 47cm.

Adrian Ghenie Adrian Ghenie, Pie Fight Interior 12, 2014. Oil on canvas, 284 x 350.5cm (111-13/16" x 138" x 2-3/8").

Adrian Ghenie Adrian Ghenie, Pie Fight Interior 12, 2014. Oil on canvas, 284 x 350.5cm (111-13/16" x 138" x 2-3/8").

Adrian Ghenie Adrian Ghenie, Charles Darwin at the age of 75, 2014. Oil on canvas, 200 x 270cm (78-3/4" x 106-5/16" x 1-3/4").

Adrian Ghenie Adrian Ghenie, Charles Darwin at the age of 75, 2014. Oil on canvas, 200 x 270cm (78-3/4" x 106-5/16" x 1-3/4").

Adrian Ghenie Adrian Ghenie, Self Portrait as Charles Darwin, 2014. Oil on canvas, 63.5 x 56cm (25" x 22-1/16" x 13/16").

Adrian Ghenie Adrian Ghenie, Self Portrait as Charles Darwin, 2014. Oil on canvas, 63.5 x 56cm (25" x 22-1/16" x 13/16").

Adrian Ghenie Adrian Ghenie, Charles Darwin as a young man, 2014. Oil on canvas, 53 x 34cm (20-7/8" x 21-1/4" x 1-3/8").

Adrian Ghenie Adrian Ghenie, Charles Darwin as a young man, 2014. Oil on canvas, 53 x 34cm (20-7/8" x 21-1/4" x 1-3/8").

Adrian Ghenie Adrian Ghenie, Degenerate Art, 2014. Oil on canvas, 40 x 40cm (15-3/4" x 15-3/4" x 1-3/16").

Adrian Ghenie Adrian Ghenie, Degenerate Art, 2014. Oil on canvas, 40 x 40cm (15-3/4" x 15-3/4" x 1-3/16").

Adrian Ghenie Adrian Ghenie, Charles Darwin as a young man, 2014. Oil on canvas, 53 x 34 cm (19-5/16" x 12-13/16" x 1-3/4").

Adrian Ghenie Adrian Ghenie, Charles Darwin as a young man, 2014. Oil on canvas, 53 x 34 cm (19-5/16" x 12-13/16" x 1-3/4").

Adrian Ghenie Adrian Ghenie, Darwin and the Satyr, 2014. Oil on canvas, 220 x 148cm (86-5/8" x 58-1/4") .

Adrian Ghenie Adrian Ghenie, Darwin and the Satyr, 2014. Oil on canvas, 220 x 148cm (86-5/8" x 58-1/4") .

Adrian Ghenie Adrian Ghenie, Charles Darwin at the age of 40, 2014. Oil on canvas, 42 x 29.5cm (16-9/16" x 11-5/8" x 1").

Adrian Ghenie Adrian Ghenie, Charles Darwin at the age of 40, 2014. Oil on canvas, 42 x 29.5cm (16-9/16" x 11-5/8" x 1").
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About 艾德里安 格尼

艾德里安•格尼 (1977年生於罗马尼亚, 巴亚马雷)2001年毕业于罗马尼亚克的卢日艺术与设计大学。曾於多个美术馆举行个展,包括丹佛当代艺术馆(2012-2013)丶根特市当代艺术博物馆(Stedelijk Museum voor Actuele Kuns)(2010-2011),以及布加勒斯特的国家当代艺术博物馆(2009-2010)。他的作品曾於威尼斯格拉西宫的弗朗索瓦•皮诺基金会丶利物浦泰特美术馆丶布拉格双年展丶三藩市现代艺术博物馆和佛罗伦斯的诗特洛奇宫基金会等展出。格尼的作品同时被选入多个公共收藏,包括洛杉矶的汉莫尔美术馆丶洛杉矶当代艺术博物馆丶安特卫普当代艺术博物馆丶三藩市现代艺术博物馆以及根特市当代艺术博物馆。在2005年,格尼与Mihai Pop共同创办了Galeria Plan B,为当代艺术提供了创作和展览场地。他现於克卢日和柏林生活及工作。格尼於2011年加入佩斯。
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Press Release

  • Adrian Ghenie

    Adrian Ghenie’s The Darwin Room, 2013-2014, is the second of his installations presented as a “room within a room”. The first, The Dada Room, 2010, is now in the permanent collection of S.M.A.K. Ghent.

    Consisting of an assemblage of meticulously sourced 19th century furniture, wooden floor boards and wall panels, The Darwin Room takes its composition from Rembrandt’s Philosopher in Meditation, 1632 (collection Musée du Louvre). Concentrating on the juxtaposition of shape, colour and tone, as if composing a two-dimensional painting, Ghenie has created a three-dimensional environment which, at first glance, resembles one of his paintings but later reveals itself to be a life-sized study room from a past era. Dark and gloomy, the room evokes an intriguing physiological atmosphere of anxiety and comfort; a prototypical birth site for visionary thought within European intellectual history.

    As with much of his work, the artist forensically investigates the visual clues depicted in the art of Europe’s past to build a framework for his painting. A memory of the fascination held as a young boy of seeing an image of Rembrandt’s The Alchemist, prompted Ghenie to delve further into the visual depiction of the intellectual sphere. From the Middle Ages, through the Renaissance until the 17th century, the predominant subject matter of all of art was religious iconography, biblical or mythological scenes or the depiction of martyred saints. Ghenie was intrigued that almost the only saint ever depicted who was not a martyr was St Jerome. Typically pictured in a darkened cave bent over and immersed in the herculean task of translating the Bible, these formal and visual components became the stereotype for the representation of intellectual’s environment. By using the formal and tonal composition of the Philosopher in Meditation the artist rethinks and critically reconstructs the concept depicted in the canvas; the modern paradigm of the intellectual sphere; a dark environment, a writing desk, a chair, all illuminated by a golden light (the light of reason). All of this codifies the representation of what Western culture sees of itself: a figure of enlightened austerity with the head bowed over books, but gazing towards and illuminated by the light of future and innovation.

    Portraits of 20th century figures whose actions indelibly changed the course of history are a recurring theme in much of Ghenie work, particularly those associated with genocide and mass suffering (Hitler, Stalin, Mengele and Ceauşescu). To Ghenie, the publication of The Origin of Species (London, John Murray, 1859) represents an inflection point in history as the consequences of its revelations are of such long lasting profundity. The misappropriation of Darwin’s ideas by despots and dictators, leading as it did to notions of eugenics, Social Darwinism and the evolution of the master races is a recurring theme in Ghenie’s work.

    Ghenie talks often of his interest in painting the “texture of history”. Much of the visual information we see of historical figures, events and places are rendered flat and two-dimensional and it is their forgotten surface and texture that fascinates Ghenie. Darwin’s personal story and iconography holds a special fascination for the artist; the appalling skin condition and vomiting syndrome that afflicted him, his luxuriant beard and Victorian attire all afford a rich source of textural possibilities that reveal themselves in the series of Darwin portraits that make up this exhibition. During his lifetime, Darwin’s distinctive physical features became widely known. He was frequently portrayed in the satirical press of the era with the face of an ape superimposed on his. This grotesque caricature of the great man of science is a starting point for Ghenie’s painting.

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News

阿德里安•葛内将代表罗马尼亚参加第56届的威尼斯双年展(Venice Biennale)。葛内於2011年加入佩斯,曾於2014年6月在佩斯伦敦举行他的个展「Golems」。目前,西班牙的Centro de Arte Contemporáneo Málaga正举行葛内的个展,此展览於3月8日结束。

Pace London is delighted to present a walkthrough video of Adrian Ghenie's exhibition Golems. Please click on this link to access the video.

Catalogues

ADRIAN GHENIE: GOLEMS

Christopher Lloyd and Jasper Sharp

2014. Pace London. Hardcover

64 pages: 37 color illustrations; 12 x 11 ¼ inches

9781909406124