拉斯·埃林 Lars Elling, 室内奇兵 The Great Indoors
布面坦培拉 Egg oil tempera on canvas, 170x170cm, 2023
拉斯·埃林（生于1966年）曾于1988-1992年间在挪威卑尔根国立艺术学院接受教育。
拉斯·埃林是个说故事的人。他在图像叙事中用层层叠叠的意象唤起了人们对童年的回忆，而字里行间则可能暗暗流露着不安与伤痛。家庭是埃林作品中重复出现的主题；似曾相识的瞬间却掺杂了令人惊讶或不悦的因子。拉斯·埃林的绘画总是呈现擦除和破碎的形式特征。纯粹的视觉表达因为有了故事性与诗意的坚实支撑而意味深长。这些画作可以看作是记忆的迸发，是对某一时刻的再现。观者似乎亲身经历的，或几近亲眼见证的，都以梦幻般的、可以与弗朗西斯·培根作品相媲美的诗意表达展现出来。与培根一样，埃林的作品也讲述着情感逻辑，画中蕴藏开端、中段和结尾，但并非按照线性顺序展开。
拉斯·埃林 Lars Elling, 狂热之梦 The Fever Dream
布面坦培拉 Egg oil tempera on canvas, 100x120cm, 2023
埃林的作品在有意识与无意识交织的矛盾中求索，尽管它们以埃林全情创作和肆意瞬间交错的私人巡礼为根基。拉斯·埃林的创作离不开语言，但并不是传统意义上的利用文字。如果我们将埃林的绘画手法与香特尔·阿克曼（Chantal Ackerman）导演的电影《长夜绵绵》（Toute Une Nuit, 1982年）进行比较，就能说明这一点。无论是阿克曼还是埃林，都无法用严谨的结构主义来解读；他们作品的特质在象征主义的暗示下姗姗来迟，因而无法避免地散发着忧郁的气息。《长夜绵绵》是电影史上视觉最简单的影片之一，我们在片中看到大约50个不同的人，在夏夜之中，他们除了相互拥抱，几乎什么都没做。令人出乎意料的是，即便如此，阿克曼依旧一丝不苟地编写了剧本——人们自然而然地认为，如此纯粹的视觉表达不需要语言。有一种语言是无法用线性方式进行解读的，它是一种情感或符号，只能通过美学手法来表达。
拉斯·埃林 Lars Elling, 作家的瓶颈 Writer’s Block
布面坦培拉 Egg oil tempera on canvas, 170x170cm, 2023
Lars Elling (1966) was educated at the Bergen National Academy of the Arts (1988-92).
Elling is a storyteller. His layers of imagery evoke memories of childhood, with the possible disturbance and trauma written between the lines. Family is the repetitive theme in Elling’s works; familiar moments infiltrated by surprising or unpleasant elements. The formalistic aspect of Lars Elling’s paintings is characterized by the erased and the broken. The pure visual expression has a meaningful function, where story and poetry are strong fundamentals. The paintings can be seen as a burst of memory, a description of a moment, where the almost experienced or almost seen is presented in a dreamlike and poetic expression, which can be compared to the poetic expressions in the works of Francis Bacon. Also like Bacon, Elling’s works also portray a description of the logic of feelings, and illustrate a beginning, a middle section, and an end, however not in that order.
拉斯·埃林 Lars Elling, 萤火虫捕手 Firefly Catcher
布面坦培拉 Egg oil tempera on canvas, 60x60cm, 2023
Elling’s works search in a layered paradox of the intentional/unintentional, though based on a personal pilgrimage into concentrated work and moments of surrender. Lars Elling works with language, but not in the traditional sense. This point can be illustrated by comparing Ellings way of painting to a film by Chantal Ackerman, who is the director of “Toute Une Nuit”. Neither Ackerman nor Elling can be decoded using rigorous structuralism; the character of their works are late in their symbolism, and thus do not escape aspects of melancholy. The film is one of the simplest visual films ever made, where we meet about 50 different people who do little other than embrace each other on a summer night. Still, Ackerman was very precise in writing the scripts of her film, which is surprising, as it is only natural to assume that such a pure visual expression does not require a language. There is a language that can’t be read in a linear way, the language is an emotion or a symbol that only can be expressed through an aesthetic matter.
©文章版权归属原创作者，如有侵权请后台联系删除