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拍品专文
'The first time I covered a gallery with insulation board, I knew that people would walk on it and ruin the floor, but I was stunned that they would write or draw on the walls'
(R. Stingel, quoted in C.S. Rabinowitz, '1000 Words: Rudolf Stingel', in Artforum, May 2005, pp. 220-221).
Throughout his career, Rudolf Stingel has expanded traditional notions of painting, redefining what it has been, what it is, and what it can be. Untitled, 2002 is one of the artist's celebrated celotex works, culled from a previous exhibition installation where it was etched into by visitors. For these exhibitions Stingel completely covers the gallery space with insulation panels laminated with aluminium foil, immersing the visitors in a spectacular room filled with reflecting light. Untitled was created soon after Stingel's installation at the Museo di Arte Moderna e Contemporanea, Trento, Italy, 2001, which was one of the first notable installations where he conceived the notion of completely covering the interior space of a gallery with insulation panels. The artist later relayed, 'The first time I covered a gallery with insulation board, I knew that people would walk on it and ruin the floor, but I was stunned that they would write or draw on the walls' (R. Stingel, quoted in C.S. Rabinowitz, '1000 Words: Rudolf Stingel', in Artforum, May 2005, pp. 220-221). The artist's shimmering intervention into the exhibition space unites figure and ground in such a way that the separation between painting and architecture dissolves. Visitors were invited to leave their mark on the surface of the soft foam-lined walls, creating a din of text and imagery. The final result is a graffiti-scrawled cacophony evidencing those who have come into contact with Stingel's conception.
Stingel memorializes the event in Untitled, choosing the exact section to 'cut-out' or fragment from this exhibition. Untitled captures both the performative nature of Stingel's mark-making practice as well as the architectonic aspects through its three-dimensional presence. Indeed works such as Untitled marry two distinct threads in Stingel's practice: the silver monochrome sprays made from 1989 for which he first garnered critical attention, and his earlier Styrofoam works created by placing white or pink panels of Styrofoam onto the floor of his studio upon which he walked with boots dipped in lacquer thinner, which dissolved the material and left the imprint of his presence. An eloquent distillation of his investigations into diffusing the relationship between painting and architecture, Stingel has included an installation of the silver foil-covered insulation foam at his solo exhibition at the Palazzo Grassi to coincide with this year's Venice Biennale.
In the silver-coated foam works, it is the action that we register first. Untitled's surface registers an abstracted designs and marks with the initials or writings of those who have interacted with the material in the past. While Untitled does not conform to a traditional definition of paint on canvas, in its surface, imagery, colour and engagement with its surrounding environment (indeed at one time defining space in an architectural sense), it creates new paradigms for the meaning of painting, repositioning the medium not only by opening up new definitions of mark-making but also by incorporating it into interior space. As such, Stingel proves painting's limits do not end at representation but also engage with material and physical change within temporal space.
(R. Stingel, quoted in C.S. Rabinowitz, '1000 Words: Rudolf Stingel', in Artforum, May 2005, pp. 220-221).
Throughout his career, Rudolf Stingel has expanded traditional notions of painting, redefining what it has been, what it is, and what it can be. Untitled, 2002 is one of the artist's celebrated celotex works, culled from a previous exhibition installation where it was etched into by visitors. For these exhibitions Stingel completely covers the gallery space with insulation panels laminated with aluminium foil, immersing the visitors in a spectacular room filled with reflecting light. Untitled was created soon after Stingel's installation at the Museo di Arte Moderna e Contemporanea, Trento, Italy, 2001, which was one of the first notable installations where he conceived the notion of completely covering the interior space of a gallery with insulation panels. The artist later relayed, 'The first time I covered a gallery with insulation board, I knew that people would walk on it and ruin the floor, but I was stunned that they would write or draw on the walls' (R. Stingel, quoted in C.S. Rabinowitz, '1000 Words: Rudolf Stingel', in Artforum, May 2005, pp. 220-221). The artist's shimmering intervention into the exhibition space unites figure and ground in such a way that the separation between painting and architecture dissolves. Visitors were invited to leave their mark on the surface of the soft foam-lined walls, creating a din of text and imagery. The final result is a graffiti-scrawled cacophony evidencing those who have come into contact with Stingel's conception.
Stingel memorializes the event in Untitled, choosing the exact section to 'cut-out' or fragment from this exhibition. Untitled captures both the performative nature of Stingel's mark-making practice as well as the architectonic aspects through its three-dimensional presence. Indeed works such as Untitled marry two distinct threads in Stingel's practice: the silver monochrome sprays made from 1989 for which he first garnered critical attention, and his earlier Styrofoam works created by placing white or pink panels of Styrofoam onto the floor of his studio upon which he walked with boots dipped in lacquer thinner, which dissolved the material and left the imprint of his presence. An eloquent distillation of his investigations into diffusing the relationship between painting and architecture, Stingel has included an installation of the silver foil-covered insulation foam at his solo exhibition at the Palazzo Grassi to coincide with this year's Venice Biennale.
In the silver-coated foam works, it is the action that we register first. Untitled's surface registers an abstracted designs and marks with the initials or writings of those who have interacted with the material in the past. While Untitled does not conform to a traditional definition of paint on canvas, in its surface, imagery, colour and engagement with its surrounding environment (indeed at one time defining space in an architectural sense), it creates new paradigms for the meaning of painting, repositioning the medium not only by opening up new definitions of mark-making but also by incorporating it into interior space. As such, Stingel proves painting's limits do not end at representation but also engage with material and physical change within temporal space.