展览预告|丹尼尔·克诺尔:天窗

丹尼尔·克诺尔个展“天窗”将于2026年4月25日在红树林画廊开幕。本次展览为艺术家在画廊的第二次个展，延续其对物质转化与观看结构的持续探讨。

“天窗”围绕一种日常且具体的建筑结构展开：无论是居所、办公空间，抑或公共场域，其均为悬置于空间之上的开口。此类开口通常嵌入于墙体之间或其内部，构成一个使天空进入视线的界面。

在克诺尔的实践中，这一建筑构件既指涉具体的工业遗存，亦隐喻一种关于观看与感知的通道。“天窗”将短暂且易被忽略的经验转化为可被感知的物质形态，其作品指向天空自身的状态及其流变，使原本位于建筑之外的自然条件，在特定框架中获得持续的可见性。通过对材料与过程的介入，克诺尔进一步质询，在当代生产与感知机制之中，形式与意义如何在物质层面持续被重组与再定义。

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Daniel Knorr’s solo exhibition Skylight will open at MANGROVEGALLERY on April 25, 2026. This marks the artist’s second solo exhibition with the gallery, continuing his exploration of material transformation and the structure of perception.

Skylight unfolds around a familiar yet specific architectural element: an opening positioned above us within homes, offices, and institutional spaces, embedded in or between walls. It marks a threshold through which the sky enters the field of vision, where interior and exterior momentarily converge.

In Knorr’s practice, this architectural component points both to concrete industrial remnants and to a site through which perception and viewing are articulated.  Skylight transforms a fleeting and often overlooked experience into a perceptible material form. The works engage with the shifting conditions of the sky - its moods and atmospheres - framing what lies beyond architectural confines within a defined field of visibility. Through his engagement with materials and processes, Knorr interrogates how form and meaning are continually reconfigured and redefined within contemporary conditions of production and perception.

「凹陷海拔」（Depression Elevations）的构思起源于洛杉矶。丹尼尔·克诺尔通过对高速公路及城市街道表面凹陷与不平之处的翻模，逐步发展出这一系列作品。作品形态近似“凝固的水洼”，呈现出日常环境中不易被察觉的时间痕迹。沿着人们通往工作与休闲的路径，这些作品将细微且不完美的路面细节转化为物质形态，使原本隐匿于工业化景观中的街道、小径以及人们行经其上的痕迹得以显现。

随着创作的推进，克诺尔引入工业物件作为模具，「工业」（Industrial）系列由此成为该系列的另一分支。这些物件既保留了使用痕迹，也指涉其既有功能。在铸造过程中，艺术家通过生成其反向形态，使作品逐渐摆脱对原有功能的依附，转而关注不同工业物件形态之间的关系及其所激发的视觉联想。例如，「凹陷海拔」系列的《电视频道》（Industrial TV Channel）：一件穹顶状的天窗在转化后呈现出近似老式电视机的形态，在不同的色彩与密度之间形成持续变化的视觉状态。

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The work originates from Los Angeles, where depressions and irregularities in highways and streets were cast in molds. This process led to the series Depression Elevations. Like “rigid puddles”, these works register the traces of everyday life, rendering surfaces shaped by use yet often overlooked. Along the routes of work and leisure, the series brings into view what usually goes unnoticed - imperfections, traces, and accumulations embedded in the built environment. In doing so, Depression Elevations reflects the industrial landscape and the marks it continuously produces.

Industrials emerges as a second branch of the series, in which industrial objects are used as molds. Marked by both use and function, these forms are translated into negatives through casting, opening a range of associations shaped less by purpose than by adjacency. A dome-shaped skylight is transformed into a form resembling an early television, flickering between channels of color and shifts in density.

在2019年瑞士巴塞尔艺术展“Unlimited”单元中，丹尼尔·克诺尔首次运用一台经过改装的洗车装置创作了行为作品《洗涤》（Laundry）。这一大型工业设备被转化为一部“绘画机器”，取代了传统画笔的功能：原本用于清洗车辆的水流被颜料所替代，对由画布构成的几何化汽车模型进行喷涂。当这些画布结构多次穿行于装置内部时，高速旋转的刷体不断将颜料泼洒、覆盖于其表面，形成富于动态痕迹的画面效果；其视觉语言在历史维度上兼具20世纪50年代行动绘画（Action Painting）的即兴笔触与60年代偶发艺术（Happenings）的事件意识。

在这一阶段，《洗涤》更强调工业机制与行为过程本身。此后数年间，艺术家延续这一工作方法，逐步发展出「洗涤」系列，并将关注重点转向以画布作为媒介的物质属性，以及由其构成的“汽车”这一结构形态。

系列作品《水滴形车》（Peardrop）即生成于这一脉络中。克诺尔以布面制作出多个独立部件，并最终拼合为一辆体量极小的汽车模型。该形态参照了由维克多·布福特（Victor Bouffort）于1952年研发的“水滴（Peardrop）”概念车——一款具有未来主义特征但未投入量产的设计。其微型尺度在象征层面上回应并反向对照了当代汽车工业中不断扩张的体量与性能导向；相较之下，“水滴”更趋近于高密度城市环境中对基本出行功能的现实需求。

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A car wash, converted into a “painting machine,” was first activated in the performance Laundry at Art Basel Unlimited 2019. Operating as a large-scale instrument, the car wash gate - using paint in place of water - replaces the traditional brush, applying paint to car forms constructed from stretched canvases arranged in geometric configurations. The canvases, initially white and unmarked, were subjected to rotating brushes, producing splashes and streams of paint. After one or two passes, their surfaces recall the gestural language of 1950s action painting and the performative practices of the 1960s. While the early works foregrounded the industrial process, subsequent works shift focus to the canvases themselves and the vehicles assembled from them.

Laundry, Peardrop extends this trajectory. Painted canvases are reconfigured as structural components to form a compact vehicle. The design references the Peardrop car developed by Victor Bouffort in 1952, a prototype that never entered mass production. In contrast to the increasing scale and speed of contemporary automobiles, the Peardrop proposes a reduced, utilitarian form aligned with the constraints of the modern city.

「画布雕塑」（Canvas Sculptures）系列由「凹陷海拔」系列发展而来。传统语境中，画布通常被视为艺术作品的次级构成，其价值往往从属于艺术家对颜料与图像的处理。在丹尼尔·克诺尔的「画布雕塑」系列中，画布被重新置于艺术家工作的核心位置。

艺术家对画布结构进行复制，并将其重新界定为一种可被塑造的绘画表面。借助合成树脂等材料，原本依附于布面上的颜料层得以剥离，使画布获得独立的物质形态。这一材料的特性使作品能够在空间中呈现出延展与折叠的状态，从而脱离平面绘画的既有框架。

在「画布雕塑」系列《金色振荡》（Golden Oscillations）中，作品表面覆以金箔，其下的结构与色彩在不同光线和观看角度下若隐若现，促成多重视觉状态的持续交迭：既呈现出轻盈流动的色彩效果，也显现出相对凝练与内敛的视觉特征。由此，画布不再作为支撑结构而存在，其固有的限制被解除，并以更为开放的方式在空间中展开。

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The Canvas Sculptures develop from the Depression Elevations series. The canvas - traditionally a secondary support for painting - is brought to the forefront. Rather than serving as a passive ground, it is reconfigured as both structure and surface. Through a process in which synthetic resin binds and separates the painted layer from its support, the works are released from the flatness of the canvas, allowing them to be formed and folded freely in space. 

In Golden Oscillations, gold leaf is applied to the surface, at once obscuring and revealing underlying forms and traces of color. The work oscillates between different registers - playful and restrained, abstract and referential. Freed from its conventional rigidity, the canvas extends into space as a sculptural form.