策展人:
棉布
艺术家:
夏洛特·爱神洛儿
Curator(s):
Mian Bu
Artist(s):
Charlotte Eschenlohr
玫瑰山无所不知-夏洛特.爱神洛儿个展 Rose Hill is all knowing——Charlotte Eschenlohr Solo Exhibition
玫瑰山无所不知-夏洛特.爱神洛儿个展
策展人：棉布
展览前言：
我们荣幸的宣布，将于2023年4月9日，举办在3画廊代理艺术家夏洛特.爱神洛儿2023年度个展：《玫瑰山无所不知》。这是在3画廊为该艺术家在中国举办的第五次个展。
空间性质，对于德国艺术家夏洛儿.爱神洛儿而言，从来都不是障碍。从第一次的工业厂房个展，到第二次的美术馆个展，再到Art 021艺博会上个展项目，及随后的画廊教堂空间，都呈现出其作品和空间呼应的关系美学的解决方案，换言之，夏洛特的每一次个展，都是一次关系艺术的具体实验，是艺术介入社会的政治、文化方案，和夏洛特多年的艺术视野，对于东西方文化的观察和批判，保持了一致性。
而这一次，她把作品搬到了咖啡馆，不，夏洛特并没有改变咖啡馆空间性质，有些艺术家，把白盒子空间变成了厨房，以实践法国艺术批评家尼古拉斯·伯瑞奥德（(Nicolas Bourriaud)）于1998年出版了法文版著作《关系美学》中，自1990年之后日益繁盛的参与性艺术、互动性艺术的独到的见解。
就在咖啡馆里，夏洛特用自己的德国表现主义，以及精湛的拼贴风格作品，重新界定了艺术家-艺术作品-观者之间的关系。在这里艺术家所扮演的社会角色发生了变化。夏洛特是主体，但不再是任何“特殊”的主体，而仅仅是一群社会关系创意网络的缔造者，在真实的社会中，在喝咖啡放松的时间里，寻找着她的“对话者”——观众。
就像伯瑞奥德说的那样：“每件艺术品的形式都是在与分享的可理解性中进行协商时完成的。艺术家就是通过形式而参与对话的。因此，艺术实践的本质坐落在主体间关系的发明上。”
我挑选了夏洛特在中国工作室创作的一些较为轻盈、诙谐的作品，来体现关系艺术的互动方式，比如 “邀请”、“选角”、“会见”、“共活空间”、“约会”等等。这些互动方式，体现了 “美学”、“生活”和“社会”。这些作品，从美学上来说，着眼于媒介的转译，把在形式和理论上使用过的艺术语言，转化成当代关系美学的实现载体。而微温度咖啡馆，在近些年来和在3画廊的展览合作中，咖啡馆却也仿佛也转译成了社会雕塑，让咖啡飘香介入了交流，触摸，互动，共同参与了艺术生产的过程。
但我们也不要忘记夏洛特作品中的视觉力量，女性觉醒，对美术史的回溯，轻盈的心智，以及社会批判的犀利视角，毕竟《玫瑰山无所不知》。展览题目本身就来自夏洛特多媒体作品自身，可以看出，夏洛特运用语言和观念的视觉技术，突围着一切可能的空间，并获得个体化的新感性。就如同她的作品，艺术家夏洛特，是我们时代的“力量之花”。
策展人：棉布
2023年3月26日，于清迈。
Rose Hill is all knowing——Charlotte Eschenlohr Solo Exhibition
by Mian Bu
Preface :
We are very honored to announce that on April 9, 2023, we will hold the artist Charlotte Eschenlohr solo exhibition 2023: " Rose Hill is all knowing ". This is the fifth solo exhibition for the artist in China at Being 3 Gallery.
The nature of space has never been an obstacle for the German artist Charlotte Eschenlohr. From the first solo exhibition in an industrial factory, the second solo exhibition in an art museum, the solo exhibition project at Art 021 Shanghai Art Fair, and the subsequent gallery church space, they all presented the solution of the relational aesthetics that echoes the works and the space In other words, each of Charlotte’s solo exhibitions is a specific experiment in relation to art, a political and cultural plan for art to intervene in society, and Charlotte’s years of artistic vision, observation and criticism of Eastern and Western cultures, maintains a consistency.
And this time, she moved her works to the cafe. No, Charlotte did not change the nature of the cafe space. Some artists turned the white box space into a kitchen to practice the French art critic Nicolas Bourriaud published in 1998 the French version of the book "Relational Aesthetics", which contains unique insights into the participatory art and interactive art that have flourished since 1990.
Right in the cafe, Charlotte redefines the relationship between artist-work of art-viewer with her own German Expressionism and superb collage-style works. Here the social role played by the artist has changed. Charlotte is the subject, but no longer any "special" subject, but merely the founder of a creative network of social relations, looking for her "interlocutor" "--audience.
As Bourriaud puts it: "The form of each work of art is negotiated in a shared intelligibility. It is through form that the artist engages in dialogue. The essence of artistic practice thus lies in the on the invention of intersubjective relations."
I selected some of the lighter and witty works created by Charlotte in her studio in China to reflect the interactive ways of relational art, such as "invitation", "casting", "meeting", "co-living space", "dating "etc. These interactive ways embody "aesthetics", "life" and "society". Aesthetically speaking, these works focus on the translation of media, transforming the artistic language used in form and theory into the realization carrier of contemporary relational aesthetics. As for the micro-temperature cafe, in recent years, in cooperation with the exhibitions at Being 3 Gallery, the cafe seems to have also been translated into a social sculpture, allowing the guests to communicate, touch, interact, and participate in the process of art production.
But let's not forget the visual power in Charlotte's works, the awakening of women, the retrospective of art history, the light mind, and the sharp perspective of social criticism. After all, "Rose Hill Knows Everything". The title of the exhibition itself comes from Charlotte's multimedia works. It can be seen that Charlotte uses language and conceptual visual technology to break through all possible spaces and obtain individualized new sensibility.
Just like her works, the artist Charlotte is the "flower power" of our timeing.
Curator: Miannbu
March 26, 2023, in Chiang Mai.