Christiane Grimm
（Germany, b. 1957)

克里斯蒂安．格琳 Christiane Grimm (Germany, b. 1957) 畢業於斯圖加特大學Universität Stuttgart建築所。她的創作被稱為「不插電的動態光影」。多年來她持續實驗研究光線、色彩、空間，與特殊玻璃、壓克力等材質的特性結合，有系統地、精確地、處理分層感知色彩，讓物理光線影響著圖像的具體性，作品隨著光線變化、觀看位置不同，顯示立體漸層以光作畫。作品於德國 Museum Ritter、Wilhelm Hack Museum 展出並獲頒 The public’s choice award 獎項。獲德國海德堡市政府、德意志銀行，以及眾多私人美術館Das Kleine Museum、 Kunsthalle Würth、私人機構PwC資誠聯合會計事務所…等永久收藏。

  • Würth, Künzelsau Collection, Germany
  • Das kleine Museum, Weißenstadt, Germany
  • Marli Hoppe-Ritter Collection, Waldenbuch, Germany

格琳 Grimm 使用金屬、有機玻璃、古董玻璃、壓克力或紙本繪畫..等媒材來創作，她不僅運用工業化材質，也利用手工技法，混合拚貼幾何、極簡主義的概念。格琳 Grimm研究並關注色彩、光線、空間所構成的氛圍 ——所見的 「光線」是穿透物質的媒介，選擇「透明」的玻璃媒材讓作品的前景和背景的分離更加流暢。眾多作品由垂直水平分割的塊狀圖形構成，漸變的序列色彩與線條不斷交疊，在光線的照映下，呈現一種立體而柔和的物質性，沉靜有秩序，也因光線與觀者視線移動的變化，產生色彩的流動狀態，色彩邊緣的界線相當模糊，近距離觀看時，會發現其表面相當細緻。作品整體破除嚴謹的幾何型態，透過帶菱紋玻璃、 色彩選擇與反覆試驗，作品充滿強烈的繪畫特徵，光引導著觀者凝視作品，縱使積極凝視，也無法一眼望穿。色彩是人們所見的天空、海洋或是土地，或是教堂窗格映入的彩色玻璃故事，帶有冷暖寓意，尤其夜間作品自帶發光，神秘且寧靜。

La vie secrète des couleurs, 德國拉登堡, 壓克力玻璃、紙和風扇, 2020

德國海德堡, 玻璃, 2005

德國海德堡, 玻璃, 2005

德國吉森, 玻璃, 2011

回顧藝術史，在1960 年代美國的極簡主義（Minimalism）同時發展至歐洲德國藝術圈，極簡藝術極力排除阻礙視覺的要素，追求呈現物件的真樣貌，讓作品還原成純粹的認知對象，部分藝術家統一用工業材料，簡化型態，或是強調作品與空間的連結。像藝術家 Keith Sonnier 使用霓虹燈的線性質量在空間中繪製光和顏色，而光的漫射使作品能夠在各種建築平面上相互作用。當代藝術家 James Turrell在建築場所建構作品，從白天至黑夜，太陽和月亮的光被帶入私密的空間，讓觀者經歷直視物件本質的過程。又如藝術家 Olafur Eliasson 使用光、水和氣溫等元素材料來增強觀眾體驗的大型裝置藝術，於室內外空間創造驚奇。同時，歐普藝術（Op art）中對色彩應用的手法在格琳 Grimm作品中反覆出現，歐普藝術採用幻覺般的色彩，重複簡單的形式和顏色組合，或是莫爾波紋（Moiré patterns），操縱透視規則以產生三維空間的錯覺，混合顏色以創造光影印象。

從雕塑、牆上裝置，各種幾何形狀，不同維度組成產生非靜止、不插電的動態效果，色彩表面創造感知模糊，一座座海市蜃樓在眼前出現、消失，令人反覆玩味。小型立體雕塑作品，水平垂直的片狀空間構成純粹、如同建築的微縮模型空間，光線可在其中自行穿透、及不可穿透的異材質，構成自成一格的建築體，錯置的窗格顯示了彩色光譜序列，展現連續韻律的視覺節奏。「光」是格琳 Grimm創作的核心元素，藉由光影呼吸、穿透、玻璃、 色彩、透明，物質相互對照與呼應，給予觀者純粹而雋永的絮語。

Selected Solo Exhibitions

2022  Gradient, Bluerider ART, Taipei
2021  Galerie liinde hollinger, Germany
2020 red transformation (S), Galerie Klaus Braun, Stuttgart
2020 Melanges en couleurs – geheimnisvolle Lichträume (S), Galerie Corona Unger, Bremen
2020 Bildmaschinen,Galerie Klaus ,Braun,Stuttgart, Germany
2020 La Vie Secrète Des Couleurs,Galerie Linde Hollinger,Ladenburg,Ladenburg Germany
2019 Wort Form Licht, Galerie Linde Hollinger, Ladenburg, Germany
2019 Galerientage im Mannheimer Kunstverein, Galerie Linde Hollinger, Ladenburg, Germany
2019 Christiane Grimm – one artist show, Galerie Mariette Haas, Ingoldstadt, Germany
2018 Transformation, Bluerider ART, Taipei, Taiwan
2018 Light Fusion, Jörg Heitsch Galerie, München, Germany
2018 Werke aus dem Bestand der Galerie, Sonderausstellung Christiane Grimm, Galerie Linde Hollinger, Ladenburg, Germany
2017 Wandobjecten Expositie, Galerie Broft, Leerdam, The Netherlands
2016 Galerie Latzer, Kreuzlingen, Germany
2015 Wandobjekte im kleinen Format, Galerie Klaus Braun, Stuttgart, Germany
2015 Raum Konkret, Galerie Linde Hollinger, Ladenburg, Germany
2013 Geheimnisse der Wirklichkeit, Kunstverein Frankenthal, Frankenthal, Germany

Selected Group Exhibitions

2021 COLOR … MOTION, mit Rosa M. Hessling und Barbara Rosengarth
2021 kuratiert von Veronika Rodenberg, Museum Modern Art, Hünfeld
2021 New Luxe,Bluerider ART,Shanghai,China
2021 Mental Space,Bluerider ART,Taipei,Taiwan
2021 Schwingung des LichtsHeitsch,GalleryMunich,Germany
2021 Made in Germany,Bluerider ART,Taipei,Taiwan
2020 Switch ON,Bluerider Art Gallery,Taipei,Taiwan
2019 Hue, Bluerider ART, Taipei, Taiwan
2019 Uitnodiging Zomerexpositie, Broft Galleries, the Netherlands
2019 Hong Kong Spring, Bluerider ART, Hong Kong
2019 Art Karlsruhe, Galerie Linde Hollinger, Galerie Obrist, Karlsruhe, Germany
2019 5.internationaler andré evard preis
2019 kunsthalle messmer, Riegel, Germany
2019 HIGHLIGHTS, Galerie Heitsch, München, Germany
2018 weiss, Galerie Mariette Hass, Ingoldstadt, Germany
2018 Kunst in Tüten, Galerie Obrist, Essen, Germany
2018 Geometric and Kinetic, Nicholsen Art Gallery, Brussels, Belgium
2018 Deltabeben Regionale 2018, Wilhelm Hack Museum, Ludwigshafen, Germany
2018 Autumn Hong Kong, Bluerider ART, Hong Kong
2018 Art Bodensee, Galerie Obrist, Essen, Germany
2018 Sommerlicht, Galerie Linde Hollinger, Ladenburg, Germany
2017 Frohes Neues, Galerie Mariette Haas, Ingoldstadt, Germany
2017 positions 2 invited by Dirk Salz, Thomas Deyle, Christiane Grimm, Pieter Obels, Oster & Koelze, Katja Pfeiffer, Alexander Voss, Galerie Obrist, Essen, Germany
2017 ROT KOMMT VOR ROT, Sammlungspräsentation der Sammlung Marli Hoppe-Ritter, MUSEUM RITTER, Waldenbuch, Germany
2016 Sonne – Konkrete Kunst in sonnigen Farben mit Arbeiten von Hellmut Bruch, Thomas Deyle, Rupprecht Geiger, Christiane Grimm und Giesela Hoffmann,
Galerie Mariette Haas, Ingolstadt, Germany
2016 Masters of Light, Jörg Heitsch Galerie, München, Germany
2016 4. Andre Evard Preis, Kunsthalle Messmer, Riegel, Germany
2015 Accrochage, Galerie P13, Heidelberg, Germany
2015 Arbeiten auf Papier, Galerie Klaus Braun, Stuttgart, Germany
2014 Weiss inspiriert, Galerie Linde Hollinger, Ladenburg, Germany
2014 Licht und Energie, Galerie Linde Hollinger, Ladenburg, Germany
2013 Art shoppen, Galerie Linde Hollinger, Ladenburg, Germany
2013 3. Andre Evard Preis, Messmer Foundation, Riegel, Germany
2011 Materials, Galerie P13, Heidelberg, Germany
2011 Galerie Linde Hollinger, Ladenburg, Germany

Collections

Das kleine Museum, Kultur auf der Peunt, Weißenstadt, Germany
Herbert-Weisenburger- Stiftung, Rastatt, Germany
Kirchengemeinde, Lützelsachsen / Weinheim, Germany
Kunstkommission Dossenheim, Dossenheim, Germany
Landratsamt Böblingen und Heidelberg, Heidelberg, Germany
Regierungspräsidium Karlsruhe, Karlsruhe, Germany
Adrian Latzer Collection, Kreuzlingen, Switzerland
Agathe and Maximilian Weishaupt Collection, München, Germany
Deutsche Bank Collection, Frankfurt, Germany
Marli Hoppe-Ritter Collection, Waldenbuch, Germany
Siegfried Grauwinkel Collection, Berlin, Germany
Würth, Künzelsau Collection, Germany
Stadt Heidelberg, Heidelberg, Germany

Christiane Grimm -geworfen, 2016

Cornelia Buder

geworfen, 2016
Mixed media, ribbed acrylic glass
100 x 100 x 10 cm

The Heidelberg-based artist Christiane Grimm has created colour and light spaces ever since the mid-1980s. A major focus of her researches is on colour itself, which she investigates in terms of its luminosity, its wide range of nuances, the ways they can be combined, and also their effect on the viewer.

A trained architect and self-taught artist, she works with a wide range of colour materials, from oils and acrylics to pastels, and generally creates visual objects, architectural light sculptures, and boxes from Perspex, antique glass, and ribbed gloss. The sensual effect conveyed by her works results from the varying interactions between the colours, the composition, the space, the material, and the lighting.

The box titled geworfen [thrown] contains coloured rectangles that appear to be floating in a diffuse, dark red space. Various shades of at times fluorescent orange and violet can be seen alternating with white and reflecting elements. Christiane Grimm explores the phenomenon whereby a colour value is never absolute but may appear different in combination with other colours, and how colour perception is strongly influenced by the actual lighting situation and the material used as the colour medium. In geworfen, the milky ribbed glass refrocts the incoming and reflected light, so that a large variety of hues light up. Through these refractions, the contours of the coloured forms seem to dissolve: the colour fields flow optically into one another and mingle, while the mirrors – in interaction with the surrounding space and the viewing angle – heighten not only the wealth of colours but also the kinetic effect.

Apart from the differing impressions of space created by the individual colours, the pictorial elements themselves appear through their arrangement to have distorted perspectives and a plastic form. The box has in fact a depth of just ten centimetres, but seems much deeper. Only once it has entered into a dialogue with a viewer in motion does it reveal the protean nature and beauty of its differentiated colour space. The work resists any unequivocal reception and opens up a magically enticing world of colour that invites us tothat linger and make new discoveries.

Translation: Malcolm Green

Colours are the joy of life

E. L. Kirchner

Christiane Grimm’s work as an artist is defined by colours and their reciprocal effects. Her pictorial concepts rupture the formal severity of geometric abstract art, which she completely bursts open and freely arranges in her most recent works. In spite of the diversity of their forms, she highlights the sensual aspect of colour in these compositions. When she aims at the dynamism of colour, this is directed towards a visual process. In her pictorial objects, she employs colour and form in such a way that their interpenetration generates a calculated and simultaneously vibrant pictorial world. They are poetic formations made up of light, floating planes, which are also achromatic on very rare occasions. By employing ribbed acrylic glass, Grimm achieves optical effects that run counter to an unambiguous perception of space. The colours’ refraction in the fine lines of the ribbed glass, which is positioned with intervening spaces, imbues her works with an emphatically painterly character, and they seem less like an assemblage of different materials. The artist composes the colours as converging or diverging simultaneous contrasts. Depending on the selection and positioning of colours, their relationship to one another is either complementary or non-complementary. The intuitively established chromatic ‘chords’ manifest themselves to viewers as consonant or dissonant. This simultaneous interplay of colours remains in motion and its aim is the viewer’s attentive and active gaze. Another reason why Grimm’s works cannot be taken in at a glance is the fact that light and the directing of light is an essential element of her pictorial objects. She assembles extremely diverse materials, such as sheets of paper dyed by the artist herself and mirror surfaces, in order to incorporate ambient light into her pictorial concept and composition. It is particularly fascinating to experience her box objects in different lighting contexts. Depending on the lighting, surfaces which had previously remained unremarked emerge, or areas which previously lay in darkness light up. Specific hues are often intensified to such a degree that they appear to glow. Vantage point plays a key role in viewing the works: one step forward or back, to the left or right can evoke entirely different or new kinds of visual impressions.

Using carefully calculated artistic means, Grimm succeeds in investing the static structure of her chromatic compositions with an enormous real as well as virtual dynamism on various levels. Light transforms the state of both the work and our perception from the one to the other. Christiane

Grimm’s subtle chromatic and achromatic pictorial objects often elicit astonishment through the interplay and reciprocal effects of their colours, and this stirs our curiosity to acquaint ourselves more closely and intensively with the individual artwork in all its manifestations and the artist’s entire body of work with all its diverse facets.

HTC X Bluerider ART 創世紀 Genesis 特展

HTC X Bluerider ART 創世紀 Genesis 特展

微風 ╳ Bluerider ART當風起時特展

微風 ╳ Bluerider ART當風起時特展

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【台北·敦仁】 「漸層 Gradient」克里斯蒂安.格琳 Christiane Grimm 在台首個展 2022.05.07- 2022.06.26

「翻牆 Scale The Wall」- Bluerider ART 2019 年度實驗特展

「翻牆 Scale The Wall」- Bluerider ART 2019 年度實驗特展

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