WEST BUND 2018
2018 上海西岸艺术与设计博览会
8-11 NOVEMBER 2018
STAND A108 | SHANGHAI
At Galerie Thaddaeus Ropac's first booth at West Bund Shanghai highlights will include new works by Elizabeth Peyton, Lee Bul and Adrian Ghenie, alongside recent works by Robert Longo, Yan Pei-Ming, Antony Gormley and Tony Cragg.
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达泰鄂司·罗贝克画廊于西岸艺术与设计博览会的首次正式展览的亮点将包括伊丽莎白·佩顿、李昢以及艾德里安·格尼的新作，与此同时，我们还将呈现罗伯特·隆戈、严培明、安东尼·葛姆雷以及东尼·克雷格的近作。
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Robert Longo's Untitled (Tiger Head 2), (2011) is a monumental charcoal drawing of a tiger's head, with its gaze intensely directed towards the viewer. It conveys an extreme sense of stillness, outside any spatial or temporal dimension. Longo was recently included in the travelling exhibition PROOF: Francisco Goya, Sergei Eisenstein, Robert Longo, which opened at Garage Museum, Moscow, Russia in 2017, followed by The Brooklyn Museum, New York, USA and Deichtorhallen, Hamburg, Germany this year.

罗伯特·隆戈的《无题（虎头·其二）》是一件极具纪念碑性的表现虎头的炭笔素描。作品中的猛虎朝向着观者深邃凝视，令作品在超脱于时空纬度之外的同时，亦传达着极度的静止感。隆戈近期参加巡回展“验证：弗朗西斯科·戈雅、谢尔盖·爱森斯坦、罗伯特•隆戈”。该展览于2017年先后在车库当代艺术博物馆（俄罗斯莫斯科）和布鲁克林博物馆（美国纽约）举行，并于今年巡回展出至堤坝之门美术馆（德国汉堡）。

In Adrian Ghenie’s Favela (2018), just as in his other recent works from this series, wild creatures appear in opposition to the corrugated iron fence and yellow gas pipe that symbolise human presence and urbanisation. The artist's most recent body of work Jungles in Paris, its title inspired by Henri Rousseau, was exhibited at Galerie Thaddaeus Ropac Paris Marais earlier this year.

在艾德里安·格尼的的《贫民窟》（2018）中，与该系列的其他近作相类似，野生生物呈现出与波纹状的铁栅栏和黄色煤气管道相对立的状态，而后者象征着人类的在场以及城市化迹象。艾德里安·格尼的最新作品曾于今年初在达泰鄂司·罗贝克画廊巴黎玛黑区空间举行的“巴黎丛林”展览中展出；其标题则受到亨利·卢梭的启发。

ART021 2018
2018年上海廿一当代艺术博览会
9-11 NOVEMBER 2018
STAND C07 | SHANGHAI
For the sixth edition of Art021 Contemporary Art Fair in Shanghai, the gallery is featuring a solo presentation of recent portraits by Alex Katz. The artist's distinctive approach to the female figure, reduced to the essentials, has made him one of the most iconic American portrait painters of the 21st century, and amongst the widely exhibited artists of his generation.
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罗贝克画廊将在第六届上海廿一当代艺术博览会中呈现一场亚历克斯·卡茨近期的肖像展览。卡茨的创作中对女性人物精辟独到的处理手法，也令其跻身21世纪广泛展出的美国同辈艺术家中最具代表性的肖像画家之列。
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Alex Katz began painting fashion models in the 1980s, often shown wearing designer clothing, as in his ongoing Black Dress series. CK 13 (2017) forms part of his recent paintings of Calvin Klein models in the brand's iconic underwear. As Katz describes, 'Fashion is of the moment, and art is supposed to be forever. Using fashion was a way to get to the present tense, because fashion exists in the present tense'.

在1980年代，亚历克斯·卡茨已开始为身着设计师服装的时尚模特儿作画——正如他正在进行的“黑裙子”系列，也成为他最近为身着卡尔文·克莱恩品牌标志性内衣的模特儿所作作品的一部分。正如卡茨所述，“时尚在于此时此刻，而艺术则在于永恒。运用时尚是一种到达现在时的方式，因为时尚存在于现在时态中。”
Alex Katz's cutout sculpture of three female bathers titled 'Chance' exemplifies the artist's unique figurative language, characterised by crisply articulated figures, often dramatically cropped and reduced to the essentials. Katz is inspired by films and popular culture, his large-scale canvases and sculptures rendered in a high-impact style that reveals the influence of billboard advertising.

卡茨名为“机会”的作品，是一件表现三位女性入浴者的剪贴画式雕塑。它完美诠释了该艺术家独特而具象的语言——通常以被戏剧性地裁切并缩减至精髓，且相互间十分清晰地相衔接的人物为主要特色。卡茨深受电影及流行文化的启发；而他的大型布面绘画则令人瞥见公告牌广告的影响，以及后者带来的极具冲击的风格。