策展文章與展覽現場 |Leonhard Hurzlmeier|屋裡/屋外
屋裡/屋外 All Around the HouseCurators｜Tamar Arnon & Eli ZaguryCuratorial Statement and Installation view
明智的海軍上將 Grounded Admiral, 2026
油彩．畫布 Oil on canvas, 80.1x60.2 cm
藝術家李昂哈德．霍茲邁爾是一位圖像幽默家，他以其抽象肖像畫和明亮的創作為人所知，其畫作如同光鮮亮麗的廣告圖像，並以少見的數學構圖規則構成。他以不經調和的原色創作其明亮的極簡主義作品，其構圖具有挑釁性、曖昧性和幽默感。藝術家的創作特點是其近幾年發展出的獨特繪畫處理，他將此手法命名為「幾何抽象具象繪畫」。The artist Leonhard Hurzlmeier is a pictorial humourist who is known for his abstract portraits and bright paintings that bear a resemblance to glossy advertising imagery and are executed with rare mathematical compositional discipline. His bright minimalist paintings feature provocative, ambiguous and humorous compositions in predominantly primary colours. His studio practice is characterised by the artist’s unique process that he has named ‘Geometric Abstract Figurative Painting’, which he developed over recent years using an innovative process.
Installation views ©大未來林舍畫廊 Lin & Lin Gallery
在霍茲邁爾的創作歷程中，他不斷探索自身對美學自我意識的深刻傾向。在抽象與具象間游移，肖像作品體現他渴望透過幾何平面的色彩元素創造可辨識的人物與造型，並拒絕被歸類於任何特定的現代或當代藝術運動，然而他超越時空的作品卻同時指涉當中的許多藝術運動。作為一名正值創作生涯中期的當代藝術家，霍茲邁爾一直逆著潮流而行並為此總是感到自己像是一個局外人。他的藝術實踐與後現代藝術的時代精神背道而馳。霍茲邁爾運用其對藝術史、哲學與文學的深刻個人見解來理解當下，進而發展出他獨特的視覺語言。他拒絕將藝術視為是一種線性的事物，主要的靈感來源可追溯至早期基督教圖像學、文藝復興、現代藝術和包浩斯等藝術家以及藝術運動。Throughout Hurzlmeier’s creative journey, he has explored his deep tendency towards aesthetic self-consciousness. Oscillating between abstraction and figuration, the artist’s portraits exemplify his desire for creating recognisable figure and form with geometric flat colour components that refuse to be pinned down to any particular modern or contemporary art movements and yet his timeless paintings simultaneously refer to many of them. As a mid-career contemporary artist, Hurzlmeier has been swimming against the tide of trends and has always felt like an outsider. His practice positions itself against the zeitgeist of postmodern art. Hurzlmeier uses his in-depth personal knowledge of art history, philosophy and literature to make sense of the current moment leading to the development of his unique visual language. He refuses to view art as something that’s linear and his main sources of inspiration come from artists and art movements as far back as early Christian Iconography, the Renaissance, Modernism and Bauhaus.
海軍 Seaman, 2026
油彩．畫布 Oil on canvas, 40.2x30.1 cm
基督教圖像學是霍茲邁爾的靈感來源之一，這體現在他選擇描繪單一肖像或頭像，並使用極簡構圖。從四世紀初以來，描繪耶穌基督、聖母瑪利亞、聖徒與使徒主題的小尺幅聖像畫大受歡迎。早期基督教圖像憑藉著其風格，賦予重要聖經故事一種臨場感，使得聖經不僅被富裕且受過教育的少數階層所理解，也被廣泛大眾所接受。霍茲邁爾的個人肖像繪畫，儘管以平面且圖形化的風格呈現，但其創造的強烈張力，深深吸引觀者的目光。Christian iconography is a source of inspiration for Hurzlmeier as it relates to his choice to paint single figures or heads and use simplified compositions. From the early fourth century, small-scale devotional icon paintings of Jesus Christ, the Virgin Mary, saints and apostles, proved hugely popular. Early Christian iconography gave key biblical events an immediacy thanks to their style which was understood not only by a wealthy educated minority but by the wider public. Hurzlmeier’s single figure paintings, although stylistically flat and graphic, are created with an intensity of expression designed to deeply engage the spectator.
Installation views ©大未來林舍畫廊 Lin & Lin Gallery
在他的創作實踐中，霍茲邁爾深受現代主義運動的啟發。他運用現代主義的造型語彙及其背後的哲學思想，探索主題、色彩與形式之間往往相互矛盾的關係。藝術家也熱衷於採用包浩斯的主要原則，因為他欣賞他們如何突破建築與設計的界線，並專注於純粹的線條、幾何形狀以及簡約的基本色板。In his practice, Hurzlmeier has been deeply inspired by the Modernism movement. He draws on the formal vocabulary of Modernism and the philosophy behind it that explored the often-contradictory relationship between subject, colour and form. The artist has also avidly adopted the main Bauhaus principles as he admires how they pushed boundaries of architecture and design and focused on pure lines, geometric shapes, combined with simple primary-coloured palettes
窗邊的金髮女郎 Blond at Window, 2026
油彩．畫布 Oil on canvas, 60.3x50.4 cm
在他創作生涯的初期，霍茲邁爾的創作方式更像是一位工程師或建築師，而非是一位畫家，在於他透過網格與對角線來規劃構圖。在繪畫的準備階段，他使用了圓規、直尺、量角器和幾何工具組等繪圖工具。畫面上的每一元素或形狀在尺度與比例上都與其他元素相互呼應。他的作品中不存在偶然的元素或未經計劃的筆觸。畫面上的圓形、三角形、線條與色彩皆經過精心策劃。霍茲邁爾持續同時進行素描與上色，直到畫作完成為止。然而，最終完成的作品幾乎沒有揭露出其創作過程中複雜且多層次的創作過程。霍茲邁爾通常要花費數週來完成每一層的上色。當他創作時，他運用並嚴謹恪守一套複雜的視覺語彙，以避免過於擁擠的構圖以及令人分心的背景。霍茲邁爾以最優美的形式詮釋簡約之美的表現近乎完美。In the early stages of his creative process, Hurzlmeier works less like a painter and more like an engineer or an architect as he plans his compositions with drawn grids and diagonal lines. For this preparatory painting stage he uses drafting tools like compass, ruler, protractor and a geometry kit. Every element or shape relates in scale and proportion to other elements and to the canvas surface. There are no incidental components or unplanned brush strokes in his paintings. Circles, triangles, lines and colours are painstakingly planned. Hurzlmeier continues to draw and paint simultaneously until the painting is finished. The result however, is a finished painting that reveals little to none of the complex and layered process of its creation. Hurzlmeier often spends weeks on each layer of paint he applies. He uses a complex visual code which he painstakingly follows when he creates paintings that avoid overcrowded compositions and distracting backgrounds. Hurzlmeier achieves near perfection in capturing simplicity in its most beautiful form.
女士與獵鷹 The Lady and the Falcon, 2026
油彩．畫布 Oil on canvas, 110.3x90.3 cm
此次展覽，霍茲邁爾創作了二十二件以有趣的構圖與色彩鮮明為特色的作品。展覽包含兩件耗時五年才完成的主要作品。作品『馴鷹人』描繪了一位在華麗室內的女子與獵鷹。作品『遊騎兵』則描繪了一位手持長矛與望遠鏡、佇立於圍欄旁的女子。這些作品鼓勵觀者解讀角色背後的故事——屋內的女子被對外在世界的渴望所困，而屋外的女子則夢想著待在屋內。而在一件描繪西班牙廚師的作品中，藝術家進一步探索這種有趣玩味且意義模糊的主題，讓觀者不禁疑惑：他是在切一片火腿，還是在演奏樂器？For this exhibition, Hurzlmeier has created twenty-two paintings characterized by their playful compositions and vibrant colors. The exhibition includes two complex, central paintings that took five years to complete. 'Falconer' depicts a woman with a falcon in a rich interior, and 'Ranger' features a woman holding a spear and binoculars while standing by a fence. These works encourage viewers to interpret the stories behind the characters - the woman inside is trapped by her desire for the outside, and the woman outside is dreaming of being indoors. The theme of playfulness and ambiguity is further explored in a painting of a Spanish chef, which leaves the viewer questioning whether he is carving a piece of ham or playing a musical instrument.
小屋 I Little House I, 2025
油彩．畫布 Oil on canvas, 40.5x40.3 cm
此次展覽中最引人入勝的作品是一件描繪一個房子的作品，這是霍茲邁爾作品中反覆出現的圖像，而此圖像隱喻著靈魂。靈魂從前門進入房屋，卻化作灰色的煙霧從煙囪飄出。儘管畫面上描繪的是一座平凡、明亮且無害的建築結構，這件作品卻促使觀者懷疑：在這愉悅的表象之下，是否潛藏著更黑暗、更隱密的現實？這件作品的靈感源自電影《藍絲絨》。影片開頭以白色柵欄、紅玫瑰與陽光燦爛的畫面展現美國郊區的美好；然而，隨著劇情的展開，我們發現這份美好的背後隱藏著一個令人不安，有著犯罪、窺視與性暴力的地下世界。The most intriguing piece in the show is a painting of a house, a recurring motif in Hurzlmeier's work that serves as a metaphor for the soul. The soul enters the house through the front door but comes out as gray smoke through the chimney. Although depicted as a kitschy, bright, and harmless structure, the painting prompts viewers to question whether there is a darker, more secretive reality lurking behind the pleasant facade. This work was inspired by the film Blue Velvet. The film's early scenes reveal the beauty of suburban America, featuring imagery of white picket fences, red roses, and bright sunshine; however, as the film progresses, we discover that behind the beauty there's a disturbing, hidden underworld of crime, voyeurism, and sexual violence.
Installation views ©大未來林舍畫廊 Lin & Lin Gallery
儘管此次展覽的作品乍看之下平面且極簡。但實際上，在近距離觀看時，我們會發現在那平滑光亮的表面之下，蘊藏著獨特且複雜層次的畫作，傳遞出關於當代社會中人性與關係的深刻訊息。顏料塗抹的光澤感與規律性，揭示了藝術家透過在抽象、極簡主義與具象表現方面的實驗，展現出一種審慎嚴謹與極其洗鍊的創作實踐。Although the works in this exhibition may appear flat and reduced to minimal details, they are only truly simple at first sight. In fact, upon closer inspection, we discover uniquely complex paintings beneath their flat, glossy surface that convey profound messages about humanity and relationships in our contemporary society. The glossiness and regularity of the paint application eveals a critical and highly sophisticated practice by an artist who experiments with abstraction, minimalism, and figuration.
匕首女士 Lady Dagger, 2026
油彩．畫布 Oil on canvas, 80.5x60.4 cm
李昂哈德．霍茲邁爾（Leonhard Hurzlmeier），1983年生於德國施塔恩貝格，2004至2011年就讀於慕尼黑美術學院，目前生活和工作在德國慕尼黑。藝術家重要個展包括：【屋裡/屋外】，大未來林舍畫廊，臺北，2026；【Women at the Well】，Vigo Gallery，倫敦，2025；【Edenism】，Vigo Gallery，倫敦，2025；【Kissing Shores】，Vigo Gallery，倫敦，2023；【Settenale】，Martina Tauber Fine Art，慕尼黑，2022；【It’s the Analogy, Baby】，Kunz Galerie，慕尼黑，2021；【Told Tales】，Rachel Uffner Gallery，紐約，2019；【All New Women】，Rachel Uffner Gallery，紐約，2017；【13 Portraits】，Galerie Andreas Grimm，慕尼黑，2012。其重要聯展包括：【44 Years of Print Publishing】，Galerie Knust Kunz，慕尼黑，2024；【三重奏：具象．表象．抽象的現代戲法】，大未來林舍畫廊，臺北，2024；【Glück Ohne Ende】，Pingrodach Contemporary，慕尼黑，2023；【Cool Mist】，Galerie Knust Kunz，克諾克，2022；【Lost in Paradise】，Martina Tauber Fine Art，慕尼黑，2021；【The Last Unicorn】，Prediger Museum，施瓦本格明德，2020；【Arbeiten auf Papier】，Galerie Britta von Rettberg，慕尼黑，2019；【Revenue de Vacances】，Martina Tauber Fine Art，慕尼黑，2019；【10 Years】，Rachel Uffner Gallery，紐約，2018；【Locus Lapis】，Martina Tauber Fine Arts，慕尼黑／Odeeh，柏林，2018。出版有藝術家作品專集《Neue Frauen》，Hatje Cantz，2018。
Leonhard Hurzlmeier was born in 1983 in Starnberg, Germany. He lives and works in Munich, Germany. He studied at the Akademie der Bildenden Künste, Munich, from 2004 – 2011. Selected solo exhibitions include: All Around the House, LIN & LIN Gallery (2026); Women at the Wel, Vigo Gallery (2025), London; Edenism, Vigo Gallery (2025), London; Kissing Shores, Vigo Gallery (2023), London; Settenale, Martina Tauber Fine Art, Munich (2022); It’s the Analogy, Baby, Kunz Galerie, Munich (2021); Told Tales, Rachel Uffner Gallery, New York City (2019); All New Women, Rachel Uffner Gallery, New York City (2017); 13 Portraits, Galerie Andreas Grimm, Munich (2012). Recent group exhibitions include Cool Mist, Galerie Knust Kunz, Knokke (2022); Lost in Paradise, Martina Tauber Fine Art, Munich (2021); The Last Unicorn, Prediger Museum, Schwäbisch Gmünd (2020); Arbeiten auf Papier, Galerie Britta von Rettberg, Munich (2019); Revenue de Vacances, Martina Tauber Fine Arts, Munich (2019); 10 Years, Rachel Uffner Gallery, New York City (2018); Locus Lapis, Martina Tauber Fine Arts; and Odeeh, Berlin (2018). In 2018, Hatje Cantz published Neue Frauen, a monograph of the artists' work.
