"獨立策展人馬丁‧ 格曼(Martin Germann)現居德國科隆。2021 年策展計劃包含東京森美術館的聯展「另一種能量」(""Another Energy"";與片岡真實共同策展)，奧利弗．拉瑞克(Oliver Laric)在 OCAT 上海館的個展；湯瑪斯．魯夫在國立臺灣美術館的個展，與北京木木美術館的拉烏爾．德．凱澤(Raoul De Keyser)的個展。
2012 至 2019 年間，他主掌比利時根特市立現代美術館(S.M.A.K.)的藝術部門，在擔任此職務前，他曾任漢諾威凱斯特納協會展覽館(Kestner Gesellschaft Hanover)策展人(2008-2012)及柏林雙年展當代藝術策展人(2003-2006)。馬丁．格曼出版了多本展覽專輯與專著，個人著作亦可見諸於《Frieze》、《Mousse》及《032c》等國際雜誌。他固定擔任根特高等美術學院(HISK)的客座講師，以及布魯塞爾Etablissement d'en Face 畫廊的理事。
Martin Germann works as independent curator and lives in Cologne, Germany.
Upcoming projects for 2021 include the group show ""Another Energy"" (co-curated with Mami Kataoka) at Mori Art Museum, Tokyo, as well as solo exhibitions with Oliver Laric at OCAT Shanghai, Thomas Ruff at the National Taiwan Museum of Fine Arts, and Raoul De Keyser at MWOODS in Beijing.
From 2012-2019 he was leading the artistic department of S.M.A.K., the Municipal Museum of Ghent (Belgium). Before this tenure he worked as curator at Kestner Gesellschaft Hanover (2008-2012) and for the Berlin Biennial for Contemporary Art (2003-2006). He has published numerous exhibition catalogues and monographies and his writing has appeared in international magazines such as Frieze, Mousse, or 032c. He teaches regularly as visiting lecturer at the Higher Institute of Fine Arts (HISK),Ghent, and serves as board member of Etablissement d'en Face in Brussels."

馬丁．格曼 Martin Germann

策展人

1958 年 生於德國哈默斯河畔采爾
1995 年 代表德國參加威尼斯雙年展
2001-2006 年 擔任杜塞道夫藝術學院教授
湯瑪斯．魯夫為今日最具影響力的攝影師之一，在杜塞道夫藝術學院的貝雪夫婦(Bernd and Hilla Becher)所創的貝雪學派(Becher school)中，是相當多產的成員。他重新定義攝影學中的概念可能性，同時捕捉並質問攝影作為視覺體驗之手法與工具的本質。
過去三十多年來，魯夫於其創作中分析人像、裸體、風景與建築攝影等諸多攝影類別的視覺表現力。他利用自己的類比及數位相片、電腦生成影像，及自科學資料庫、印刷媒體和網路上揀選的影像，進行這些探究。
八〇年代時，他幾乎只以類比相機創作，直到九〇年代數位影像科技更加盛行後，即愈發涉入數位視覺疆界的不同領域。魯夫的藝術創作出發點並非直接映照現實，而是攝影媒體那生成與操弄影像的性質。如此極端批判又具省思之攝影手法貫穿他所有作品，至今已衍生出 31 個系列。

Born in 1958, Zell am Harmersbach, Germany
Represented Germany at Venice Biennial in 1995
Was professor at the Düsseldorf Art Academy 2001-2006

Thomas Ruff is among the most influential photographers working today. A prolific member of the so-called Becher school, formed by Bernd and Hilla Becher at the Düsseldorf Art Academy, Ruff has redefined photography's conceptual possibilities, simultaneously capturing and questioning the essence of photography as both a means and tool for visual experience. Over the past 30 years, Ruff has been analyzing the various photographic genres in his work – including portraiture, the nude, landscape and architectural photography – in terms of their visual expressiveness. He carries out these investigations using his own analog and digital photographs, computer-generated images, alongside images culled from scientific archives, print media, and the Internet. Whereas in the 1980s he worked almost exclusively with an analog camera,as the availability of digital image technologies became more readily available in the mid-1990s he has become increasingly involved in the different fields of the digital visual world. The point of departure of his artistic work is not the direct mirroring of reality, but rather it is the image-generating and manipulative character of the medium of photography. This extremely critical and at the same time reflective use of photographic means runs throughout his oeuvre, which in the meantime has grown to encompass 31 series.

湯瑪斯．魯夫 Thomas Ruff

藝術家

國立臺灣美術館

中國樣板畫 Tableaux chinois

火星 ma.r.s.

星空 Stars

土星探測船 ― 卡西尼號 cassini

感光影像 Photograms

圖檔格式 jpeg

特里普 Tripe

負片 Negative

其他肖像 Other Portraits

Z 循環 zycles

基底 Substrates

裸 nudes

夜視 Nights

新聞影像 Newspaper photographs

新聞報導 press++

「湯瑪斯．魯夫-影像之後 1989-2020 攝影作品展Thomas Ruff - after.images WORKS 1989-2020」為德國藝術家湯瑪斯．魯夫（Thomas Ruff，1958 年生於德國哈默斯河畔采爾）於東南亞的首次大型機構個展，展出藝術家1979 年創作以來，約31 個系列中的15 個系列，共105 組件作品，本展將是魯夫自慕尼黑藝術之家（Haus der Kunst Munich，2012）的回顧展，到近期於日本的考察展（東京國立近代美術館、金澤21 世紀美術館，2016 ／ 2017）與杜塞道夫北威州K20 美術館的個展（K 20 – Kunstsammlung NRW，2020-2021）以來，至今最完整的展覽之一。湯瑪斯．魯夫的新作品系列《中國樣板畫》（tableaux chinois）也將於亞洲首次展出。

1989 年，也是展出作品時序的起點，文化上不僅恰好碰上如德國柏林圍牆倒塌、北京天安門大屠殺等政治事件，也與全球數位攝影的興起及網際網路發明後數位影像的加速流通重疊。於此框架下，本展從魯夫的藝術作品自1989 年以來愈來愈加明顯的幾個關鍵面向開始：魯夫自七〇年代晚期，多數的作品是利用相機創作，今日，他則以典藏影像資料庫進行創作，包括自己的藝術產出、透過電腦的無相機影像生產，以及攝影圖像多層技術性疊合的作品愈來愈多。這樣的主題框架，加上確信影像絕不中性與客觀，而是因意識型態動機直接或間接的創造和驅動，讓我們能掌握魯夫創作的完整主題核心，也為其藝術生產拉出歷史向度的時間框架。

展名「影像之後」取自生理現象「後像」（afterimage），即人眼短暫受到視覺刺激後，在眼前徘徊、如同影子般的暫留影像，通常包含顏色變異及視角變化――這也是藝術家運用於自身作品的手法。標題也引導人們思索往往稱之為「後攝影」（postphotographic）的當今攝影圖像世界：我們生活的世界，被現有的影像環繞，這些影像也大多透過濾鏡、編輯、操弄等手法進行處理，魯夫對現實的影像興趣有限，卻深受影像本身的多重現實吸引，因此他的藝術創作中，大量使用這些技巧，而觀念導向攝影的重點即為反映攝影媒體的狀態及運用。

本展由馬丁‧格曼策展，展覽以美術館空間的形式與條件，組織為五大主題章節：（1）系列創作：中國樣板畫；（2）攝影史的轉折點；（3）天文學；（4）影像類型；（5）新聞報導，方便觀眾從多個角度理解和閱讀魯夫的創作，其中許多議題亦相互交織。本展以介紹藝術家創作手法及攝影史上各種科學性轉捩點揭開序幕，也闡述攝影與繪畫的關係及其科學方法，融入藝術家個人對天文學等領域的興趣，最後收束於日常面向，以攝影對媒體與傳播的意義結尾。


"Thomas Ruff: after.images" will be the first institutional solo exhibition of the German artist (born in 1958, Zell am Hamersbach) in South East Asia. It presents excerpts of 15 of the in-between 31 series the artist has produced since his beginnings in 1979. With around 105 works it is, after his retrospective at Haus der Kunst Munich (2012) and his recent Japan survey (National Museum of Modern Art, Tokyo, and 21st Century Museum of Contemporary Art, Kanazawa, 2016/17) and his solo show in K20 – Kunstsammlung NRW (2020-21) one of his most comprehensive exhibitions by now. A new series by Thomas Ruff, entitled Tableaux chinois , based on propaganda photography from a magazine for foreign relations from the PR China and coffee table books on Mao's life and the history of the great achievements of the Chinese Communist Party in the 1950s and 1970s, will have its premier in Asia.



The year 1989, where the timeframe of the work on display starts, culturally coincides with political events, such as the fall of the German wall, the massacre at the Tiananmen Square in Beijing, but also with the global rise of digital photography and the accelerated circulation of digital imagery through the invention of the World Wide Web. Within this framework, the exhibition departs from crucial aspects of Ruffs artistic work, which since 1989 come increasingly to the foreground: while he was using the camera for most of his work from the late 1970s, from now the work with archival image databases, including his own artistic output, the camera-less image production on the computer, and the multilayered technical layering of photographic pictures increases. This thematical framework, plus the certainty that images are never neutral and objective but instead authored and primed directly or indirectly by ideological motivations, allows to embrace the full thematic output of Ruffs work, while setting a historical timeframe in his artistic production.



The exhibition title "afterimages" refers to the physiological phenomenon of the afterimage. Like a shadow, it hovers over the human eye as a representation of what was seen shortly before, often including color alterations and perspective shifts – methods, which the artist also includes in his repertoire. The title can also lead to speculations of the contemporary status of world of photographic images, repeatedly described as "post-photographic": we live in a world surrounded by existing images, and a huge part of dealing with those consists of filtering, editing, and manipulating those images. The artistic practice of Thomas Ruff makes fully use of these techniques, since it is not so much interested in the images of reality, but instead in the multiple realities of images themselves. To reflect the conditions and protocols of the photographic medium is a key feature of conceptually oriented photography.



The exhibition curated by Martin Germann and the show is conceived as a spatial network of museum galleries with five visitor friendly thematic chapters to understand and to read Ruffs practice from various angles: 1. Working in Series: Tableaux chinois, 2. Turning Points in the History of Photography, 3. Astronomy, 4. Genre, and 5. Press, in which many of the issues interfere. It starts with introduction in the way the artist works and covers various scientific turning points in the history of photography, as well as photography's relation to painting and its scientific means, which also embed personal interests of the artist such as astronomy, and ends with its meaning in the everyday, for press and communication.

官方網站

影像之後：湯瑪斯．魯夫1989-2020攝影作品展

2004 –
感光相紙彩印輸出
網路相片或魯夫利用數位相機拍攝並數位處理之相片

《圖檔格式》的視覺出發點是在網路上流傳各地的影像、明信片掃描圖檔及攝影書中的插圖。藝術家關注影像常見的數位幾何結構，也是標準數位影像壓縮格式JPEG的基礎，像素結構被分解成8 x 8像素的影像方塊進行儲存，同時依特定規則，將影像方塊各自獨立壓縮和簡化。影像資訊如此簡化處理再放大顯示時，就會看到一個個如網格方塊般的像素群組。這種錯誤被視為是種干擾；但對湯瑪斯．魯夫而言，這其實是能提升觀者感受的技術物(artifact)。藝術家強化像素結構並同時放大整體影像，藉此創造出一種在近看時猶如幾何彩色圖樣的新影像，但拉遠來看，則仍是攝影影像。魯夫於此運用了晚期印象派繪畫的概念，並結合二十一世紀的數位可能性。透過使用過去幾十年來全球發表與討論的各類型影像，這個系列幾乎成為媒體影像領域的視覺百科全書，也映照出這項媒材所定義之特性。

2004 –
Chromogenic color prints
Photographs from the Internet or taken by Ruff using a digital camera and processed digitally

The visual starting point of the jpeg are images that are distributed worldwide through the Internet, as well as scans of postcards and illustrations from photobooks. The artist was interested in the digital geometrical structure common to the images, which forms the basis of the JPEG format, the standard compression format used for digital images, with which the pixel structure is broken down into image squares of 8 x 8 pixels during the storage process, whereby each image square is compressed independently of the others and simplified according to specific rules. When the image information reduced in this way is displayed enlarged, the respective group of pixels becomes visible as a square block in a grid. This is actually a mistake that is perceived as disturbing; for Thomas Ruff, however, it is an exciting artifact that can heighten the viewer's perception. By intensifying the pixel structure and simultaneously enlarging the overall image, the artist creates new images that, seen up close, resemble a geometric color pattern but becomes a photographic image when viewed from a greater distance. Here, Ruff uses ideas from the painting of the late Impressionists and combines these with the digital possibilities of the twenty-first century. By using the entire range of images published and discussed globally in recent decades, he makes the series almost a visual encyclopedia of the world of media images and a reflection of its characteristics determined by the medium.