费迪南德·德尔伯格（Ferdinand Dölberg, 1998—），德国艺术家，他的艺术作品以其深邃的情感表达和视觉冲击力而著称。艺术家通过混乱和不协调的图像塑造了无意义和荒谬的情境，将达达主义的虚无主义倾向融入到个人情感的表达之中，体现为对传统艺术形式、社会规范和权威机构的反抗和嘲讽。无论是背景中的几何图形和线条，还是人物手中的奇异物体与扭曲肢体，都打破了画面的逻辑和和谐，表现了对现实和理性的无视和解构，通过戏谑的方式传达出对人类存在状态的深刻反思。

Ferdinand Dölberg (b.1998) is a German artist renowned for the profound emotional expression and visual impact of his artwork. Through chaotic and discordant images, the artist creates meaningless and absurd situations, incorporating the nihilistic tendencies of Dadaism into the expression of personal emotions. This manifests as a rebellion and satire against traditional art forms, social norms, and authoritative institutions. Whether it is the geometric shapes and lines in the background or the strange objects and twisted limbs in the hands of the figures, the logic and harmony of the picture are disrupted, demonstrating a disregard and deconstruction of reality and rationality. Through a playful approach, he conveys a deep reflection on the contemporary human conditions.

 

 

 

 

 

 

 

 

 

《安全感中断》The sense of security is interrupted

2024

布面油画、炭笔 oil and charcoal on canvas

150 x 120 cm

 

 

艺术家通过线条和颜色营造了人物关系的紧张感，同时也深入探讨了结构和秩序的主题。作品中多次出现格子图案，这一灵感源自学校的作业本，象征着规章制度和社会规范。德尔伯格通过这种视觉元素，探讨了个体与社会之间的复杂关系，揭示了个人在结构性约束中的挣扎与妥协。

 

The artist creates a sense of tension in the relationships between figures through lines and colors, while also delving deeply into themes of structure and order. The recurring grid patterns in the works are inspired by school notebooks, symbolizing rules and social norms. Through this visual element, Dölberg explores the complex relationship between the individual and society, revealing the struggle and compromise of the individual within structural constraints.

 

 

 

 

《两面，两思，无解》Zwei Seiten. Zwei Gedanken. Keine Lösung

2024

布面油画、炭笔 oil and charcoal on canvas

150 x 180cm

 

 

德尔伯格作品中人物是脸谱化的，既无法辨识性别与年龄，也消解了一切个人特征，揭示了他对身份与自我认知的深刻思考，而前景中的人物形象常常处于一种动态与静态的微妙平衡之中，人物的姿态仿佛在激烈的运动中定格，或是表现出一种静谧和沉思的状态。创造出一种既充满张力又和谐统一的视觉效果，探讨了个体在社会中的多重身份和自我认知的复杂性。

 

The figures in Dölberg's works are highly stylized, lacking distinguishable gender and age, and devoid of any personal characteristics. This reveals his deep contemplation on identity and self-awareness. The figures in the foreground often exist in a subtle balance between dynamic and static states, appearing as if frozen in intense motion or exhibiting a tranquil and contemplative demeanor. This creates a visual effect that is both tension-filled and harmoniously unified, exploring the complexity of multiple identities and self-awareness within society.

 

 

 

 

《你可以叫这个自画像，但我不行》You could call it a self-portrait. But I don' t

2024

布面油画、炭笔 oil and charcoal on canvas

120 x 105 cm

 

德尔伯格在构图中运用了黑白色的高对比度和强烈的视觉张力，这源自他对炭笔的独特使用。炭笔是一种容错率极低的媒介，一旦出错就会在画面上留下痕迹。德尔伯格对炭笔的熟练掌控不仅展示了他的技术水平，更体现了他对材料的敏感度和深刻理解。

 

Dölberg employs high contrast and intense visual tension in his compositions, stemming from his exceptional use of charcoal. Charcoal is a medium with very little room for error, as any mistake leaves a mark on the canvas. Dölberg's adept control of charcoal not only showcases his technical skill but also reflects his sensitivity to and profound understanding of the material.

 

 

 

《纸图模板，编号系统3》Vorlage für Papierfiguren. Nr. System 3

2024

布面油画、炭笔 oil and charcoal on canvas

150 x 120 cm

 

 

德尔伯格画面中另一个常见的元素是胶带。艺术家并非直接在画面中使用胶带，而是通过留白的方式勾勒出胶带的轮廓。胶带的加入为作品增添了一种独特的层次感和结构性，其粘贴和修补的功能隐喻了对旧有秩序的修正和重建，以及对个人和社会关系的束缚与控制。炭笔的运用使得画面中的人物形象充满力量和动感，炭笔的粗犷与胶带的几何化形态相结合，形成了一种独特的视觉语言，使得作品在表现形式上独具一格。

 

In the paintings of Dölberg, another common element is tape. The artist does not directly use tape in the images but outlines its contours through blank spaces. The addition of tape adds a unique sense of depth and structural complexity to the artwork. Its metaphorical function of sticking and repairing signifies the correction and rebuilding of existing orders, as well as the constraints and control over personal and social relationships. The use of charcoal imbues the figures in the paintings with power and dynamism. The rough texture of charcoal combined with the geometric forms of tape creates a distinctive visual language, making the artworks stylistically unique.

 

 

 

部分展览作品介绍

More on Exhibiting Works

 

 

 

 

《多声可助，多声无益》Many voices can help. Many voices cannot help

2024

布面油画、炭笔 oil and charcoal on canvas

150 x 120 cm

 

 

这件作品中，举步维艰，动辄得咎，众声喧哗挟制掣肘，如沸群议百般牵缠。秩序、规则和集体的声音不能忽视。在权威言论和行动标准下，个人的选择被严重限制，寻找自我的期望似乎毫无用处。那些无用的规训言论，成为难以愈合的伤口，留下令人烦恼的疤痕。即便如此，个人仍然不被允许脱离群体。

 

In this work, every step is fraught with difficulty, easily inviting blame; the clamor of voices hampers and restricts, like a boiling tumult of opinions entangling every aspect. Order, rules, and the collective voice cannot be ignored. Under authoritative discourse and standards of action, individual choices are severely constrained, and the pursuit of personal expectations seems futile. Those futile, regimented speeches become wounds that are difficult to heal, leaving troubling scars. Even so, individuals are still not allowed to break away from the group.

 

 

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《原材料是有的，但没有想法，条条框框正在崩塌》Material is available. Ideas are missing. System is crumbling

2024

布面油画、炭笔 oil and charcoal on canvas

180 x 150 cm

 

 

并肩而行，欲破常规。这件作品中描绘了两个正在尝试改变世界的人战士的形象，他们穿着如同盔甲的服饰，手握盾牌，画面中同时具有童趣与英雄主义情节，在如幻梦一般的场景中显得妙趣横生，又带着孩童般的天真与幻想。

 

Walking side by side, they seek to break conventions. This artwork depicts two figures who are attempting to change the world, portrayed as warriors dressed in armor-like attire, wielding shields. The scene blends a sense of childlike wonder with heroic undertones, set in a fantastical setting that is both whimsical and imbued with the innocence and imagination of childhood.

 

 

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《在地球上发现一切都已过去》Auf der Erde ist alles vorbei. Entdeckung da oben

2024

布面油画、炭笔 oil and charcoal on canvas

70 x 80 cm

 

 

对人类而言，一切愿望仿佛可以通过科学技术实现。这件作品使用了属于太空的黑色和深蓝色，仿佛无尽的宇宙空间，代表了人类在征服太空所做出的成就。通过这件作品，艺术家表达了对人类下一个阶段的憧憬，在征服足下的蓝星之后，我们还会做什么呢？

 

For humanity, it seems that all desires can be realized through scientific and technological advancements. This artwork employs shades of space-like black and deep blue, resembling the endless expanse of the universe, symbolizing humanity's achievements in conquering space. Through this piece, the artist expresses anticipation for the next phase of humanity—after conquering the blue planet beneath our feet, what will we do next?

 

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《白旗与四脚朋友的失败恋情》The white flag and failed romance of the four-legged friends

2024

布面油画、炭笔 oil and charcoal on canvas

70 x 80 cm

 

 

在西方语境下，柔弱和温顺的幼鹿是和平与守护的象征，白旗则是投降与停止敌对行动的国际通用标志，代表着结束纷争、寻求和平的意愿。将这两者结合在一起，组成了一幅充满和平意味的画面，以一种独特的方式抒发对于世界和平的渴望，鼓励我们勇敢地放下敌意，寻求和平的解决之道。

 

In the Western context, the gentle and docile fawn symbolizes peace and guardianship, while the white flag is an internationally recognized symbol of surrender and cessation of hostilities, representing the desire to end conflict and seek peace. Combining these two symbols creates a picture full of peaceful implications, expressing a longing for world peace in a unique way, encouraging us to bravely set aside hostility and seek peaceful solutions.

 

 

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《以水泥代替鲜花，创造而非毁灭》Cement instead of flowers, Creation instead of destruction

2024

布面油画、炭笔 oil and charcoal on canvas

120 x 105 cm

 

 

 

 

 

 

 

 

展览视角

 

 

 

温钦画廊私洽代理国际顶流艺术家的原作（如果客户有其他特定艺术家作品的需求，我们会用海外艺术资源为您寻找）:   巴勃罗·毕加索 Pablo Picasso,安迪.沃霍尔, 文森特.梵高Vincent Gogh, 亨利.马蒂斯Henri Matisse, 弗里达·卡罗 F.KAHLO, 格哈德·里希特 G.Richter, 威廉·阿道夫·布格罗 W A Bouguereau, 马克·夏加尔M. Chagall, 克劳德·莫奈 C.Monet, 伦勃朗·哈尔曼松·凡·莱因 Rembrandt, 圭尔奇诺 Guercino, 马蒂亚·普雷蒂 Preti, 翁贝特·波丘尼 U. Boccioni, 鲁西奥·芳塔纳 L.Fontana, 弗朗西斯·培根 F. Bacon, 让-米歇尔.巴斯奎特J.M.Basquiat, 拉斐尔·桑西 Raffaello, 卡纳列托 A. Canaletto, 保罗·委罗内塞 Veronese, 皮埃尔.奥古斯特.雷诺阿 P.A. Renoir, 保罗.塞尚P.Cezanne, 雷尼·马格利特 R.Magritte, 萨尔瓦多.达利 S. Dali, 阿梅代奥.莫迪利亚尼 A.Modigliani, 希罗尼穆斯·博斯 H.Bosch, 弗朗西斯科.戈雅 F.Goya, 彼得.保罗.鲁本斯 P.P. Rubens, 丁托列托 Tintoretto, 弗朗索瓦·布歇 F. Boucher, 安东尼·凡·克 A.Van Dyck, 弗朗西斯柯·德·苏巴朗 F. Zurbaran, 草间弥生, Kaws, 奈良美智, 赵无极等