《灰燼的光輝》當(dāng)代藝術(shù)展在漢堡巴爾拉赫紀(jì)念美術(shù)館隆重啟幕，中德藝術(shù)對(duì)話叩問人類命運(yùn)終極命題

今日，《灰燼的光輝》當(dāng)代藝術(shù)展于德國漢堡市中心的巴爾拉赫紀(jì)念美術(shù)館（BARLACH HALLE） 正式開幕。作為德國著名藝術(shù)家恩斯特·巴爾拉赫的專屬紀(jì)念場館，該美術(shù)館承載著德國現(xiàn)代藝術(shù)史的重要記憶——巴爾拉赫在德國藝術(shù)領(lǐng)域的標(biāo)桿地位，堪比畢加索之于西班牙、梵高之于荷蘭，其藝術(shù)思想與創(chuàng)作實(shí)踐深刻影響了德國現(xiàn)代藝術(shù)的發(fā)展軌跡。此次展覽以跨文化藝術(shù)對(duì)話為核心，集中呈現(xiàn)中國與德國當(dāng)代藝術(shù)家的代表性作品，為德國觀眾搭建起理解中西方當(dāng)代藝術(shù)美學(xué)的重要橋梁。

本次參展藝術(shù)家包括中國藝術(shù)家區(qū)志航、羅必武與德國藝術(shù)家Gerd Leins戈魯，其作品均聚焦人類發(fā)展進(jìn)程中的核心學(xué)術(shù)命題：戰(zhàn)爭與和平的辯證關(guān)系、生與死的形而上學(xué)思辨，以及人類命運(yùn)的終極價(jià)值叩問，彰顯了當(dāng)代藝術(shù)家對(duì)人類共同議題的學(xué)術(shù)關(guān)懷與藝術(shù)表達(dá)。

開幕儀式上，策展人戈魯從藝術(shù)史學(xué)與創(chuàng)作方法論角度，系統(tǒng)闡釋了四位藝術(shù)家的學(xué)術(shù)成就與創(chuàng)作脈絡(luò)，深入剖析作品背后的思想內(nèi)核；聯(lián)合策展人、德國資深策展人Rolf Krieger則以空間美學(xué)理論為切入點(diǎn)，幽默且嚴(yán)謹(jǐn)?shù)亟庾x了本次展覽的布展邏輯，重點(diǎn)分析了空間敘事與作品語義的共生關(guān)系，以及不同文化背景藝術(shù)家作品之間的跨文化對(duì)話機(jī)制，為在場觀眾提供了專業(yè)的學(xué)術(shù)視角。

著名中德英三語主持人羅偉哲（德國籍，曾就讀于南京大學(xué)、北京大學(xué)漢語專業(yè)）以專業(yè)的跨文化傳播素養(yǎng)完成主持與翻譯工作，其精準(zhǔn)的語義轉(zhuǎn)換與深度的學(xué)術(shù)解讀，確保了中德藝術(shù)家、嘉賓及觀眾對(duì)展覽主題思想與作品內(nèi)涵的透徹理解，有效推動(dòng)了跨文化藝術(shù)交流的深度落地。

開幕當(dāng)晚的學(xué)術(shù)延伸活動(dòng)與藝術(shù)演繹環(huán)節(jié)亮點(diǎn)突出：德國主流電視臺(tái)知名主持人Bedo 對(duì)每位參展藝術(shù)家進(jìn)行專題學(xué)術(shù)專訪，深入，挖掘作品的創(chuàng)作語境與學(xué)術(shù)價(jià)值，且會(huì)制作成視頻在電視節(jié)目中播放；中國著名現(xiàn)代舞藝術(shù)家林婷婷以身體敘事為媒介，創(chuàng)新呈現(xiàn)展覽主題的現(xiàn)代舞導(dǎo)覽，通過肢體語言詮釋作品中的人類共同情感；著名舞蹈藝術(shù)家馬寧用極具文化辨識(shí)度的藏族舞蹈藝術(shù)，為現(xiàn)場嘉賓與觀眾獻(xiàn)上兼具文化禮儀與藝術(shù)美感的祝福演繹，成為跨文化藝術(shù)交流的生動(dòng)注腳。此外，著名DJ安德烈亞斯團(tuán)隊(duì)的現(xiàn)場演繹將氛圍推向高潮，嘉賓們?cè)谒囆g(shù)與音樂的交融中自由交流，踐行了“藝術(shù)無國界，音樂無極限”的跨文化交流理念。

展覽期間，系列高端學(xué)術(shù)活動(dòng)持續(xù)展開：藝術(shù)史學(xué)博士Dr. Marc Cremer、漢堡大學(xué)亞非學(xué)院文化藝術(shù)學(xué)者倪少峰、德國策展人Rolf Krieger、史學(xué)家暨哲學(xué)家Andreas Ehlers等多位學(xué)術(shù)權(quán)威，分別對(duì)四位參展藝術(shù)家進(jìn)行深度學(xué)術(shù)專訪，從藝術(shù)史脈絡(luò)、文化研究視角及哲學(xué)思辨維度提出專業(yè)性學(xué)術(shù)建議，為藝術(shù)家的創(chuàng)作實(shí)踐與展覽的學(xué)術(shù)深化提供了重要支撐。

此次《灰燼的光輝》當(dāng)代藝術(shù)展取得圓滿成功，不僅為德國觀眾帶來了蘊(yùn)含東方式全球化整體性宇宙觀的藝術(shù)表達(dá)，更以跨文化藝術(shù)對(duì)話的形式，為中德當(dāng)代藝術(shù)交流注入新的學(xué)術(shù)活力，讓德國藝術(shù)史學(xué)界與批評(píng)界感受到中國當(dāng)代藝術(shù)的獨(dú)特魅力與思想深度。正如藝術(shù)學(xué)術(shù)領(lǐng)域的共識(shí)：藝術(shù)的高度，始終取決于藝術(shù)家對(duì)人類社會(huì)的認(rèn)知深度、內(nèi)心精神的博大格局，以及藝術(shù)視角的廣度與學(xué)術(shù)厚度。

開幕現(xiàn)場：

參展藝術(shù)家：

區(qū)志航

本次參展的藝術(shù)家區(qū)志航曾獲過荷賽獎(jiǎng)，這獎(jiǎng)項(xiàng)是沉甸甸的，對(duì)當(dāng)代藝術(shù)家區(qū)志航的肯定和莫大的尊重鼓舞！區(qū)志航用了二十多年時(shí)光。在世界各地近1800多次，用他的行為藝術(shù)＂腑臥撐＂，以赤子之身和充滿愛和憐憫之心記錄了人類歷史中的大地標(biāo)大事件，那些改變?nèi)祟悮v史的節(jié)點(diǎn)，譜寫在每一個(gè)歷史進(jìn)程的見證中，這具備了很強(qiáng)的新聞價(jià)值和史學(xué)意義，現(xiàn)實(shí)主義的批判精神！藝術(shù)家在此與時(shí)間與地理與建筑與環(huán)境發(fā)生著鏈接，以血肉之軀以鮮活的身體和精神與歷史與人文與道義與情感與天與地相鏈接，那一刻，藝術(shù)家跨越了時(shí)間的世界的歷史的界限，瞬間升華騰飛！此在，瞬間！即完成了史詩般的敘事創(chuàng)造！又完成了一個(gè)個(gè)體，作為藝術(shù)家在宇宙星空中的姿態(tài)與存在！這背后有無數(shù)根情感和理性的神經(jīng)向多維時(shí)空延展。將觀者帶入，既是觀察者又是參與者，更是共創(chuàng)者。人類文明發(fā)展進(jìn)程中的地標(biāo)性建筑，比如自由女神像，比如柏林墻，廣島原爆點(diǎn)，故宮博物院冬天的大雪，這已經(jīng)不僅僅是建筑，更是地理批評(píng)的背后邏輯的核心價(jià)值所在，是人類自身存在與發(fā)展的幽長故事和利刃的正反面，和深埋其中的人類進(jìn)程中的各種命運(yùn)折點(diǎn)，這1800多處都留下區(qū)志航的行為藝術(shù)的痕跡，區(qū)志航以影像的方式紀(jì)錄的行為事實(shí)是凝固的更是流動(dòng)的，是人類歷史的鏡像與反鏡像，照進(jìn)靈魂的永遠(yuǎn)凝視！是藝術(shù)家用了近二十年的時(shí)間，將歷史的長河推進(jìn)到地𤤯的東西南北！跨越時(shí)空的創(chuàng)舉，勇氣和情懷的碰撞！區(qū)志航會(huì)一直用他的赤子之身和赤子之心創(chuàng)作出更多的作品，與天地同在，與日月同輝，與歷史并肩，給人類留下一次次重新審視歷史的洞見機(jī)會(huì)，從而會(huì)反省反思自身！這之中很自然的存在著某種批判性和強(qiáng)烈的警醒性！具有強(qiáng)烈的藝術(shù)感染力藝術(shù)價(jià)值和史學(xué)價(jià)值社會(huì)價(jià)值！

《那一刻》2020年 10月 21 日中國泉州區(qū)志航與 3333 位華光學(xué)生創(chuàng)作打破吉尼斯世界紀(jì)錄超大型公共藝術(shù)作品“和”

The Moment: October21,2020, Quanzhou,China, Ou Zhihang and 3,333 students fromHuaguang created the large-scale publicartwork He («Harmony’), breaking theGuinness World Record

羅必武

本次展覽《灰燼的光輝》參展藝術(shù)家羅必武是一位中國的當(dāng)代藝術(shù)家，其藝術(shù)修養(yǎng)和人文素養(yǎng)都非凡！首先他作為版畫家在中國尤為卓越，屢次獲獎(jiǎng)！他的歷史傳承，專業(yè)度達(dá)到爐火純青的程度，在創(chuàng)新方面，羅必武不僅在材料上更在內(nèi)容上觀念上達(dá)到了極致的突破！羅必武善于將生活庸常的事物與人類歷史發(fā)展中的大事件比方戰(zhàn)爭，武器，潛艇，戰(zhàn)斗機(jī)等，從冷兵器到核武器，讓這一切重置于一口溶缸中，人類的罪啊，在浴缸中能潔凈身體，但怎能洗去罪污呢，這看似風(fēng)馬牛不相及的事物放在一起，實(shí)則潛藏著十分深刻的隱喻，于荒誕中揭露歷史的真相人類的真相，從而能看到真理之光在閃耀！另外從羅必武的作品中我們能看見上帝的視角，人類如同在浴缸中的舞臺(tái)，爭競，爭端，戰(zhàn)爭，對(duì)恃，沉浮，人類在罪中沉浮，呈現(xiàn)出人類被逐出伊甸園的后現(xiàn)代圖景！無論《回望》系列還是《浮起的事件系列》，都隱喻著人類家園和勞苦爭競的現(xiàn)實(shí)，而救贖之路的選擇，正象《浮起的事件一北極星一號(hào)》讓我們看到被逐的人類始祖，帶著原罪，但是神在太初已經(jīng)給出了大拯救計(jì)劃，羅必武的作品充滿敬畏之心的憂傷之情，作品的色彩傳達(dá)著滿滿的情愫！我們應(yīng)該必須必要緊迫的知道，我們從哪里來我們到那里去的憂心忡忡，從中我們能看到畫家內(nèi)心的大愛和憐憫之情流淌在畫面中，這些都是能深深打動(dòng)人內(nèi)心的作品！羅必舞以其細(xì)膩入微的豐富筆觸，高貴的色彩靈魂，觀念性的隱形光伏，照亮現(xiàn)實(shí)中的一地狼藉和孤獨(dú)迷茫！

《浮起的事件-北極星一號(hào)》布面油畫Floating Event-Polaris No.1,Oil on Canyas羅必武Luo Biwu150*120cm,2015

Gerd Leins

本次展覽的藝術(shù)家Gerd Leins 將展出的作品系列作品《戰(zhàn)爭鏡像》以及《死亡訃告》，都是關(guān)于死亡的思考，唯有直面死亡的民族才是哲學(xué)的，才真的會(huì)仰望神性的光輝！只有思考死亡的個(gè)體才是真正詩意的敬畏的！藝術(shù)家Gerd Leins 是二戰(zhàn)后出生的德國人，他對(duì)人類的戰(zhàn)爭有著深刻的認(rèn)知與哲思，他曾說在他五十歲之前，他都為自己是德國人而深深自責(zé)，懺悔之心一直啃啃噬著他，讓他十分的焦慮和憂傷，直到近幾年才剛剛缷下心靈的重?fù)?dān)！做為詩人藝術(shù)家，Gerd Leins 象詩人里爾克，象詩人保羅·策蘭一樣，憂傷到骨頭里去，做為生而為人而深深的歉意，對(duì)于人類犯下的罪，從集體到個(gè)人到民族到家國，撕裂感讓詩人身心俱疲！《戰(zhàn)爭鏡像》系列創(chuàng)作在俄烏戰(zhàn)爭之后，那些在戰(zhàn)斗中消失的年輕鮮活的面孔，擊打觀者的內(nèi)心，成為一地碎片，在西伯利亞的天寒地凍中，我們眼中是冰冷的骨頭，如磐石般堅(jiān)硬！人類！為什么爭端不息，那些無辜者的骨頭在消失的面孔之后，堆積如山。藝術(shù)家Gerd Leins 用他厚重而又明麗的色彩紅黃藍(lán)，冷峻而又深沉的構(gòu)建出紀(jì)念碑一樣的儀式！向在戰(zhàn)爭中消失的孩子們默哀！

Gerd LeinsInstallation Redemption- PhasenübergangAcryl, Asche, Rosenblätter,gemahlenes Haupthaar auf Jute und PapierMischtechnikHolz, Bitumen, Nägel2025

Ca. 240 cm x 210 cm

戈魯

戈魯做為本次展覽的策展人之一，參加了本次展覽，戈魯參展的作品是《未完成的廢墟》，這組作品戈魯自2008年直到目前始終在持續(xù)延展的作品，以人物為主線，用不同材質(zhì)材料，媒介，抽象表現(xiàn)和意向表達(dá)和隱喻手法表現(xiàn)人類，一直以來在創(chuàng)建文明也拆毀文明，拆毀自身，深陷罪中，人類需要重建家園，更需重建自己，就象一戰(zhàn)二戰(zhàn)，所有戰(zhàn)爭后，滿目瘡痍，盡是廢墟！而人自己也一樣，一生與自我的罪爭戰(zhàn)，內(nèi)在是一片瓦礫廢墟，重建屬靈的新生命！如何在廢墟上重建？是我，我們思考的永恒命題。戈魯以一個(gè)詩人的情懷，即以人的視角也與上帝注視的目光相遇

大家心中自有答案，一切明明可知，只是人的自由意志的選擇不同。

Artist: Ge lu

Title of Work: Installation: "Folding theUniverse"

Medium::A210X1000 cm, cosmic energywork (canvas, gouache) is rolled,mixed withrainwater and soil from Hamburg, Germany,wrapped in plastic sheeting,bound with nylonropes,suspended from scaffolding,with a blackaltar placed in front.

Dimensions: 300X250 X600 cmYear: October 5,2025

展覽信息：

《灰燼的光輝》當(dāng)代藝術(shù)展

策展人：

戈魯GL(中國藝術(shù)家策展人)

Bentz Oliver Josef Felix(西班牙皇家藝術(shù)協(xié)會(huì)主席）

Rolf Krieger(德國策展人)

學(xué)術(shù)主持：

Dr. Marc Cremer (藝術(shù)史學(xué)博士)

參展藝術(shù)家：

區(qū)志航（中國），羅必武（中國），Gerd Leins (德國）戈魯（中國）

展覽地址：德國漢堡

展覽場館：BARLACH HALLEK

展覽時(shí)間：11月7日到11月18日

開幕時(shí)間：11月7日下午5:00

學(xué)術(shù)研討會(huì)：11月8日

The Radiance of Ashes Contemporary Art Exhibition

Curators

- Ge Lu GL (Chinese Artist Curator)

- Bentz Oliver Josef Felix (President of the Royal Spanish Art Association)

- Rolf Krieger (German Curator)

Academic Directors

- Dr. Marc Cremer (Art History Doctor)

Exhibiting Artists

- Ou Zhihang (China)

- Luo Biwu (China)

- Gerd Leins (Germany)

- Ge Lu (China)

Exhibition Venue

Hamburg, Germany

Exhibition Hall

BARLACH HALLEK

Exhibition Period

November 7 to November 18

Opening Time

5:00 PM on November 7

Academic Seminar

November 8

The Radiance of Ashes

After the salvation of light

Your millions of confessions

Accomplished in one go

The great redemption

The seed of fire

The radiance of ashes

Like a lighthouse

Pointing to poetry and the distance

Human beings ought to move toward the great light

Those words of God

And the vivid faces

Engraved on the tablet of the heart

The reverent heart prostrates itself on the earth

Looking up at the sky of history

Every moment is a junction of fleeting years

The course of human civilization

A sharp sword

Piercing the opposite side of all things

Eternity has long been overflowing

Every pair of eyes praying for peace

The dove of peace

Holy as snow

Flying over the memories of darkness

No matter how fragile we are

We endure the pain with fortitude

For justice, fairness, freedom, equality, and respect

Are waiting in the daytime

Surpassing the king of death

Ou Zhihang

Ou Zhihang, an exhibiting artist in this exhibition, is a recipient of the World Press Photo Award—a weighty honor that represents recognition and immense respect for this contemporary artist, serving as a great inspiration. Over more than 20 years, Ou Zhihang has conducted his performance art "Push-Ups" nearly 1,800 times across the globe. With his pure body and a heart filled with love and compassion, he has recorded major landmarks and events in human history—those junctions that altered the course of human history, inscribed in the testimony of every historical process. This work carries strong news value, historical significance, and the critical spirit of realism.

In his art, the artist establishes connections with time, geography, architecture, and the environment; through his flesh-and-blood body, vivid physique, and spirit, he links with history, humanity, morality, emotions, heaven, and earth. In those moments, he transcends the boundaries of time, the world, and history, sublimating and soaring instantaneously. Dasein, instant! It not only achieves an epic narrative creation but also fulfills the posture and existence of an individual artist in the cosmic firmament. Behind this, countless emotional and rational nerves extend into multi-dimensional time and space, drawing viewers in—making them not just observers, but participants, and even co-creators.

Landmark buildings in the development of human civilization, such as the Statue of Liberty, the Berlin Wall, the Hiroshima Atomic Bomb Hypocenter, and the Palace Museum under winter snow, are more than just architectures. They embody the core value of the underlying logic of geographical criticism, representing the long, profound stories of human existence and development, the dual sides of a sharp blade, and the various fateful turning points deeply embedded in the human journey. Ou Zhihang’s performance art traces have been left in over 1,800 such places. The behavioral facts he records through images are both frozen and flowing—they are the mirror and anti-mirror of human history, an eternal gaze that penetrates the soul.

This feat, spanning time and space, is a collision of courage and passion—a result of the artist devoting nearly 20 years to pushing the long river of history to the four corners of the earth. Ou Zhihang will continue to create more works with his pure body and heart, coexisting with heaven and earth, shining with the sun and moon, and standing side by side with history. He leaves humanity with opportunities to re-examine history with insight, prompting self-reflection. Naturally, his works carry a certain critical nature and a strong sense of vigilance, boasting powerful artistic appeal, as well as artistic, historical, and social value.

Luo Biwu

Luo Biwu, a Chinese contemporary artist exhibiting in The Radiance of Ashes, possesses extraordinary artistic accomplishment and humanistic quality. First and foremost, he is an outstanding printmaker in China, having won numerous awards. His inheritance of artistic traditions and mastery of professional skills have reached the pinnacle of perfection; in terms of innovation, he has achieved groundbreaking breakthroughs not only in materials but also in content and concepts.

Luo Biwu excels at juxtaposing ordinary daily objects with major events in human history—such as wars, weapons, submarines, and fighter jets, ranging from cold weapons to nuclear weapons—resetting all these elements in a dissolution tank. Oh, the sins of humanity! A bathtub can cleanse the body, but how can it wash away the stain of sin? Though these objects seem unrelated on the surface, they harbor a profound metaphor: amid absurdity, they reveal the truth of history and humanity, allowing the light of truth to shine through.

Furthermore, Luo Biwu’s works offer a "perspective of God." Humanity is like actors on a stage set in a bathtub—engaged in competition, conflict, war, and confrontation, rising and falling, drowning in sin. His works present a post-modern depiction of humanity expelled from the Garden of Eden. Whether it is his Looking Back series or Emerging Events series, they all metaphorize the reality of human homes and the toil of strife. The choice of the path to redemption is echoed in Emerging Events - Polaris No. 1, which reminds us of humanity’s expelled ancestors, burdened with original sin—yet God has already laid out a great salvation plan from the very beginning.

Luo Biwu’s works are filled with sorrow tinged with reverence, and the colors in his pieces convey profound emotions. We must urgently understand and reflect on the anxiety of "where we come from and where we are going." In his works, we can feel the great love and compassion flowing from the painter’s heart—works that deeply touch the soul. With his exquisite, detailed brushstrokes, the noble "soul of colors," and conceptual "invisible photovoltaic light," Luo Biwu illuminates the mess, loneliness, and confusion of reality.

Gerd Leins

Gerd Leins, an artist in this exhibition, will showcase his series War Mirrors and Death Obituaries—works centered on reflections on death. Only a nation that faces death head-on can be philosophical and truly look up to the radiance of the divine; only an individual who contemplates death can be truly poetic and reverent.

Born in Germany after World War II, Gerd Leins has a profound understanding and philosophical reflection on human wars. He once said that before the age of 50, he felt deep remorse for being German—a heart of confession gnawed at him constantly, filling him with intense anxiety and sorrow. It was only in recent years that he finally unloaded this spiritual burden. As a poet-artist, he embodies the profound sorrow of poets like Rilke and Paul Celan—sorrow that seeps to the core of his bones. He carries a deep apology for being human, for the sins committed by humanity: from the collective to the individual, from the nation to the country. This sense of fragmentation exhausted him both physically and mentally.

Created after the Russia-Ukraine War, the War Mirrors series depicts the young, vivid faces lost in battle—faces that strike the viewer’s heart, shattering into fragments scattered on the ground. In the bitter cold of Siberia, all we see are cold bones, as hard as rocks. Oh, humanity! Why do conflicts never end? Behind the vanished faces, the bones of the innocent pile up like a mountain. Using thick yet bright colors of red, yellow, and blue, Gerd Leins constructs a solemn, monument-like ritual with cold solemnity and depth—a tribute to the children lost in war.

Ge Lu

As one of the curators of this exhibition, Ge Lu will also participate as an artist, showcasing his work Unfinished Ruins. This series, which he has continuously expanded since 2008 to the present, takes human figures as its main thread. Using diverse materials, media, abstract expression, symbolic representation, and metaphorical techniques, the work depicts humanity: a species that has always built civilization while also destroying it, destroying itself, and being deeply trapped in sin. Humanity needs to rebuild its homes, but more importantly, it needs to rebuild itself.

Just as after World War I and World War II—eras marked by devastation and ruins—human beings too are engaged in a lifelong battle against their own sins, their inner selves reduced to heaps of rubble and ruins. The task of "rebuilding a new spiritual life" and "how to rebuild on the ruins" remains an eternal question that Ge Lu, and all of us, ponder.

With the sensibility of a poet, Ge Lu’s work merges the human perspective with the gaze of God. Everyone holds the answer in their heart; all truths are clearly knowable—it is only the choices of human free will that differ.