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“自性洄溯”作为弗里德里希·埃因霍夫（Friedrich Einhoff，1936-2018）迄今在中国最全面的展览，将展出百余件艺术家的布面及纸本作品，同时收录了他从未公开展出的珍贵素描和教学笔记，以及策展人特别为此次展览录制的采访影片。展览涵盖了“人物（Personenregister）”“微型画（Miniaturen）”“动物（Tiere）”和“转换照片系列（Überzeichnungen）”等不同题材的作品。此次展览将呈现这位艺术家对人类状况的深刻关注，并将这种情感深度真诚地融入作品中，展现他作为一个真正具有同理心、爱和尊重的人的特质。

从左至右

大型双人肖像

无题

动物 12/35

小系列 18/03.06

作为艺术家，埃因霍夫并未追求所谓的“宏大杰作”，而是将他的才华施展于大大小小的作品上，将宝贵的艺术作品赠予世界，而它们以时而痛苦，时而幽默的方式对人类的灵魂进行钻研。埃因霍夫卓越的绘画技巧使其在艺术家群体中享有盛誉，并在近年来逐步得到更多人的赞赏和关注，尤其包括越来越多的中国观众。

尽管埃因霍夫从未踏足中国，他的作品却在中国观众中产生了强烈的共鸣。本次展览将探索埃因霍夫的艺术语言和创作思想，并通过其学术背景及高品质的画作，试图揭示和反思他在中国广受关注的原因。“很显然中国和德国之间存在着一种隐而不宣的强烈情感连接，而弗里德里希·埃因霍夫有效地激活了这种共鸣。”本次展览的策展人艾墨思（Thomas Eller）表示。

弗里德里希·埃因霍夫1936年出生于德国马格德堡，并于2018年在汉堡去世，享年82岁。埃因霍夫是一位勤奋且富有创造力的艺术家，他能够敏锐地感知并引导自己所处时代的能量。在二战后的成长过程中，由于少时体弱多病，他不得不在医院或疗养院中度过漫长而孤独的时光，这段特殊的经历激发了他对人性的研究和探索，并贯穿了他一生的艺术创作。

据采访了解到，弗里德里希·埃因霍夫非常博学，对含有荒诞、黑暗和讽刺元素的作品有着浓厚的兴趣。他最喜欢的作家之一是同时代的奥地利作家托马斯·伯恩哈德（Thomas Bernhard）。埃因霍夫也推崇并阅读了卡夫卡（Franz Kafka）、彼得·魏斯（Peter Weiss）、塞缪尔·贝克特（Samuel Beckett）、阿尔伯特·加缪（Albert Camus）的著作，也关注法国精神分析学家雅克·拉康（Jacques Lacan）的理论研究，后者以试图学习汉语从而解构语言结构中隐含的象征意义而闻名。

尽管阅读了大量书籍，埃因霍夫似乎很少向他人显露自己广博的知识。对他而言，阅读与吃饭类似，是一种日常摄入营养的必需品，用以吸收新的思想并融入自身的思考中。但他显然没有与其他艺术家过多探讨这个问题，多数时候他们是在讨论艺术。诸如弗朗西斯·培根（Francis Bacon）、彼得·布莱克（Peter Blake）和大卫·霍克尼（David Hockney）等，这些艺术家都给他带来了深远的影响。汉斯·普拉切克（Hans Platschek）是一位博学多才的艺术家兼艺术理论家，他曾引导埃因霍夫从抽象主义走向实现自我的图像式绘画风格，并对埃因霍夫在探索绘画语言之路产生了重要影响。

在2009年的卡尔斯鲁厄古典和现当代国际艺术博览会上，埃因霍夫获得了汉斯·普拉切克“艺术与写作奖”。在某种意义上，埃因霍夫是最接近中国文人画家概念的德国艺术家之一，以其强烈的直觉在工作室中进行日常实验。他并不热衷于创作“杰作”，而是更关注创作过程和画面的发展，这些画作甚至是基于艺术家的手自行生成的。沃纳·霍夫曼（Werner Hofmann）用“中间”（in-between）一词来描述埃因霍夫专注于表达“变化”的焦点。他不仅不断提高自己的绘画技巧，还注重在日常生活中保持谦逊、克制、慈悲和尊重，以此提高和改进自身。用汉斯·格奥尔格·伽达默尔（Hans-Georg Gadamer）的话来说：“受过教育的人能够克服自爱，从而听到他人想说的话。”换句话说，一个人必须通过对他者的深入理解，放下个人的成见和自我利益，方能追溯回归自我，从而达到“自我”（自性）。

艺术家工作室

弗里德里希·埃因霍夫在他的艺术生涯中将人作为研究对象，并深入探讨人性，他的绘画作品在某种程度上甚至可以比作为人类灵魂的山水画。基于这一观点，埃因霍夫的作品并非“关于”什么， 因为它们从不旨在展示、解释或叙述特定的事物，而是传达着艺术家注入其中的内在能量。埃因霍夫在这方面进行了广而深的研究，以至于画中的人物有时甚至看起来是与“我”——正在注视画面的观者相关联的，而这些作品也实则表达了自我的情感。

对于“为何埃因霍夫能够毫不费力地进行跨文化交流”这个问题，我们或许永远无法得到确切的答案。但可以肯定的是，他能够将自己生命中的各种苦难和悲伤的碎片重新融合，凝聚成一股谦逊的力量，并将眼下的社会生活转变为一个充满关怀、尊重甚至是爱意的幸福环境。在经历了挣扎磨砺之后，他成功地洄溯了自我，而艺术便是他的通途。

展览视频

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展览现场

©昊美术馆 Copyright©HOW Art Museum

給A的肖像 Figur für A. 

丙烯、碳粉、沙子、帆布

Acrylic, charcoal and sand on canvas

150 × 120 cm

画册Jaakov Blumas

从左到右：

曹元琪（万一空间联合创始人）

艾墨思（Thomas Eller，策展人）

对谈嘉宾：

奥地利艺术史学家沃纳·霍夫曼指出，埃因霍夫也曾获得了德国非常有声望的艺术奖——艺术与写作奖。该奖项以另一位画家、艺术评论家和策展人汉斯·普拉切克的名字命名。弗里德里希·埃因霍夫也是如此，他有着广泛的阅读经历（这也是他获得这个兼具写作与艺术的奖项的原因），即使他并没有将写作作为主要创作方式，但他与他的学生进行了许多交流。沃纳·霍夫曼也是一个著名人物，他是汉堡一家艺术馆的馆长。他谈到了埃因霍夫，以下引用了他的原话：“埃因霍夫将他的艺术置于某种‘中间’的状态，素描和绘画相互消融，呈现出一种近似毁灭性行为的理形。在那里，虚无感把骷髅般的人物轮廓包围起来，暗暗地充满侘寂；在那里，死亡的残酷与生命的绚烂如出一辙。”

显然沃纳·霍夫曼提到的有关生成和消亡，既指年轻时的埃因霍夫，也指向他的疾病；既指他的工作过程，当然也指代德国的绘画（painting）和素描（drawing），似乎只有完成二者的结合，才能达到上述的艺术性。在中国，两者之间只需要一个词来囊括，因为绘画和素描从来不分家，这也是我从研究他画面和中国文人性中得到的第一个启示。但埃因霍夫的作品与中国的艺术实践有一些相似之处，在形成他一部分的创作语言过程中，也再次出现他对第二次世界大战时期或第二次世界大战后的幻想，这在当时一切都亟需重建。

自画像 Figur mit meinem Gesicht

丙烯、碳粉、沙子、帆布、木板

Acrylic, charcoal and sand on canvas on wood

40x40cm

2004/2006

膝盖 Knie 

丙烯、泥土、帆布

Acrylic and soil on canvas

150x120cm

“可以说膝盖基本上总是向前迈进。每隔半米向内弯曲，再隔半米向上伸直。（......）我自己没有原则，只有坚定的生存和加速的决心，我拥有经验，而非原则。（......）我不是膝盖骨，也不是膝窝，不是小腿，也不是大腿，这些都已经消亡；我是介于它们之间的中间物”。“在...中间 （in-between）”是沃纳·霍夫曼用来描述弗里德里希·埃因霍夫工作方法的术语。当我说得越多，你会逐渐开始感觉到，他所展现的这些只不过是他想通过绘画传达更深层次体验的托词而已。

曹元琪

这是艺术家张培力，他也是埃因霍夫的藏家。张培力觉得这幅画其实很像他本人。所以这也证实我前文所述（人是会从对象中看到自己）。弗里德里希·埃因霍夫的绘画有几个要素，他会谨慎使用色彩，大多是黑白灰色调，叠加一点层次紧密的彩色，这跟亚洲人对艺术审美倾向的感受非常接近。事实上，他既是一位文学家，也是一位画家，某种程度上他也是符合中国文人画理论体系下的艺术家。他对人性的研究非常感兴趣，可能用一个有点开玩笑的比喻，他有点像人类灵魂的风景画家——研究了人类精神的变化方式，到最后在画面上呈现出真正的样子。

克劳斯·米维斯（Claus Mewes)

火灾 Brände

丙烯、碳粉、沙子、帆布 

Acrylic, charcoal and sand on canvas

35 × 40 cm

2010

嘉宾提问环节

梁庆：在设计埃因霍夫画册时候，面对很多他的作品和手稿，如何划分作品的分类让我产生了一些困惑。后来我了解到埃因霍夫的一些经历，例如他长时间在医院里照顾他的夫人，自己在少年和晚年时期在医院里度过的漫长时间……所以我理解为作品呈现的是他肉身与精神的博弈，每个人的身体到最后都变成一个监狱，并试图禁锢我们的灵魂。但是我认为埃因霍夫通过他的作品，一直在想从这个身体的监狱或牢笼里面挣脱出来，所以我在做这本画册的时候，忽然找到了一个灵感和切入点。然后我就把画册按照肢体、肖像、人物群像这一线索做了分类。所以我想与艾墨思先生探讨他在这次策展中如何理解这些作品的分类？

艺术家手稿

艾墨思（Thomas Eller)：您给了我一个很好的机会来解释展览的结构，当你走到展墙外围，最引人注目的应该是22件纸板摄影作品。其中19幅在一边，3幅在另一边，但它们实际上在拐角处形成了一个L形。L形也可以在这件腿部作品图像中看到。展览的所有角落，你会看到这里有一幅画，另一面墙上有一幅画，从一面墙衔接到另一面墙。

膝盖也是如此，有人说走路只不过是以一种受控的方式向前跌倒，因为重力在牵引着你。但实际上并非如此，你走路时，重力拉着你，你顺势移动自己的腿，这样就不会摔倒，所以行走是受控的跌倒。这个展览试图控制你作为观众的体验方式，从一幅画到下一幅画。当您于展厅行走时，试着关注相似的同时期的作品，接着是与一组与动物相关的作品，还有人像作品系列。他们在一起时有某种作用力，你不知道它们之间是否有关联，但它们处在同一画面与空间中。他们是相连的但同时又不是直接连接的，一切都是正在处于其中的状态。

我试图依照该方法论来构建此次展览。当你进入展厅，首先看到的第一个物品是镜子——因此你看到的是自己。问题已经抛还回来，你进来的时候是谁？这也是埃因霍夫对自己的问题，我是谁？为什么我能成为艺术家？是什么让我称自己为艺术家？

©昊美术馆 Copyright©HOW Art Museum

Return to Self

How Art Museum in collaboration with W.onespace present German painter Friedrich Einhoff’s solo exhibition, Return to Self. The exhibition features a cross section of his oeuvre of five decades as well as comprehensive bodies of work from his different work series like “Personenregister, Miniaturen, Tiere, and Überzeichnungen (painted over photographs)”. The exhibition reveals the profound and sincere emotional depth of a painter deeply concerned about the human condition, a man capable of real compassion, love, and respect. With over 100 works of art, it is the most comprehensive exhibition of this artist in China yet.

As a painter, Friedrich Einhoff was not looking to create a masterpiece, instead be accomplished to give to the world many masterful pieces, large and small, that are both, painterly gems, and sometimes painful, sometimes humorous investigations into the human soul. The intensity of his painterly skills is exceptional and has become increasingly appreciated and admired in the past few years, especially amongst artists, but also more and more by collectors in China.

Despite the fact, that Einhoff never set foot in China and his work not “about” China, his work resonates deeply with Chinese audiences. This exhibition explores the artistic and intellectual background of Friedrich Einhoff and strives to unveil and present the qualities of Einhoff´s work that make him so much appreciated in China.

“Apparently there is a strong hidden emotional connection between China and Germany, that Friedrich Einhoff has managed to activate”, says Thomas Eller, the curator of the exhibition.

Friedrich Einhoff was a German painter. He was born in 1936 in Magdeburg and died in Hamburg at age 82 in 2018.

Friedrich Einhoff was a very prolific and productive artist who was able to sense and channel the energies of his times. Coming of age immediately after WW2, he grew up a sickly boy who would have to spend lonely times in medical facilities, because of his ailments. This experience made him grow to become an expert in human nature.

It is said that Friedrich Einhoff was very well read. He had a penchant for the absurd, the dark and the sarcastic. One of his favorite writers was his contemporary Thomas Bernhard from Austria. He read Franz Kafka, Peter Weiss, Samuel Beckett, Albert Camus, but also Jacques Lacan, the French psychoanalyst who, famously, tried to learn Chinese in order to deconstruct symbolic meaning in the structure of languages. Despite all his reading Einhoff rarely seems to have shown-off his knowledge. Reading for him must have been like eating, a nurturing necessity, incorporating the ideas into his own intellectual body. But he was apparently not discussing this with other artists. Instead, they had discussions about art. Francis Bacon, Peter Blake, and David Hockney were important to him amongst others. An essential influence was Hans Platschek a very energetic artist and art theorist, who helped guide Einhoff on his path from abstraction to his realize his own pictorial figurative style.

In 2009 he was even awarded the Hans-Platschek-Prize for Art and Scripture and in a sense, Friedrich Einhoff was one of the German figures to come closest to the Chinese notion of a Literati painter. Einhoff was a very intuitive person who was constantly experimenting in his studio. He was not interested in creating “the” masterpiece. He was more interested in the work process and to see what was happening during the process. In a way the paintings even seem to have used Einhoff´s hand to create themselves. This is how Einhoff himself described his process. Werner Hofmann used the term “in-between” to describe the focus of Friedrich Einhoff to express a notion of “becoming”. Not only did he work hard to improve his painterly skills every day, he was also exercising humbleness, restraint, compassion, and respect to improve himself. In the words of Hans-Georg Gadamer: “Educated is he who can overcome his self-love so that he hears what the other wants to say." In other words – to arrive at “oneself” one has to go through a deep understanding of the other un order to return to (one-)self.

Friedrich Einhoff over the course of his life-time and his artistic career became an expert in human nature and his paintings are landscape paintings (山水) of the human soul. In that sense the works by Einhoff are not “about” anything. They don´t show or explain or narrate. They are. They convey inner energies put into them by the painter. Einhoff was so prolific at that, that sometimes it even seems that the figures in Einhoff´s painting are about me, the viewer and the paintings actually show my emotions.

Why that is, why Einhoff became this exceptional figure who can communicate seemingly effortlessly across cultural borders, might never become completely resolved. What can be said about him though, is that he was able to re-integrate the pieces of his complicated life of pain and sorrows into one of achievement and humble strength. He was able to transform his immediate social life into a blissful environment of care, respect and even love. After all his strife he could successfully return to self for which his art was his conduit.

艺术史学家沃纳·霍夫曼（Werner Hofmann）博士称埃因霍夫是最具创新性和实验性的艺术家之一，因为他为人类边界的观点开辟了新的领域。他的作品表现出独特的严谨性和力度，利用各种媒介来“异化”人物的面部特征，使他们“无法辨认”。然而，若目光穿透到模糊不清的半透明面纱下面，又能通过人物完美的五官比例、讲究的线与体关系 、色块构图等，感受到埃因霍夫深厚的学院功底和极其高超的艺术水准。

Friedrich Einhoff (b.1936-2018) is one of the most renowned contemporary German Expressionist artists, known as "the man who put Hamburg on the map of German art" and "the wanderer between genres ". Born in pre-World War II Germany, his childhood experiences of war and disease profoundly led him to imagine a world of oppositions (Gegenwelten), or parallel worlds, which for him was an unexplored area between human "manifest" and "latent" aspects. Therefore, the characters depicted in Einhoff's paintings have a captivating quality of being constrained, with indistinct facial features and incomplete bodies. The artist uses alienation as a technique to create figures that resemble still-life objects, thereby giving them a sense of separation from the pictorial space.

Dr. Werner Hofmann, an eponymous art historian, has called Einhoff one of the most innovative and experimental artists, for he opened up new territories for a view on human boundaries. His works exhibit a unique rigor and intensity, and he employs various media to "alienate" the facial features of his characters, rendering them “unrecognizable”. However, if one looks beyond the blurry, translucent veil, the perfect proportions of the characters' facial features, the meticulous lines and forms, and the composition of color,  the works reveal Einhoff's profound academic background and extremely high level of artistic skill.