北京－在3画廊很荣幸的宣布，我们将于2017年3月8日至2017年4月7日在北京马奈草地美术馆举办生活和工作在北京的德国艺术家夏洛特. 爱神洛的同名个展：夏洛特. 爱神洛儿。此次在马内草地美术馆的一层空间中，将呈现夏洛特最新一个系列《寺庙、蜘蛛、网》以及其他五个过往系列作品《龙图腾》、《所有都是真实的》、《奇特的纯真》、《适从》和《趁现在》。夏洛特于2016年7月末刚刚结束了她于在3画廊的首次个展《趁现在》，时隔半年又携她于慕尼黑及北京两地的新作系列，与北京的观众再次会面。此次展览将于2016年3月8日（周三）下午3点至8点举行VIP论坛及开幕酒会。此次展览是在3画廊和马奈草地美术馆共同合作推出的。
生活和工作在北京的德国艺术家夏洛特. 爱神洛儿(Charlotte Eschenlohr)，主要以拼贴的艺术手法来表达她个人对当下世界的观察。没有比拼贴，这种去中心化，解构和结构并存的表达方式，更适宜于不带民族狭隘性的世界性的认知。
Beijing- Being 3 Gallery is pleased to announce the new solo show Charlotte Eschenlohr by Charlotte Eschenlohr, a German artist who lives and works in Beijing at Manet Grassland Musuem. The show will be on the view from March 8 to April 7, 2017, presenting Eschenlohr’s latest serie of works Temple, Spider, Network along with 5 old series DragonFly, All Is Real, Strange Pureness, Easiness, and Call the Now. The opening reception and a VIP Talk will be held on March 8 (Wed), 3pm-8pm.The exhibition Charlotte Eschenlohr was launched collectively by Being 3 Gallery and Manet Grassland Musuem.
Eschenlohr distills her observations on contemporary society primarily through the artistic form of collage. What better way could there be Collage, a medium of expressionwherede-centralization, deconstruction, and reconstruction co-exist, is a fitting way to articulate a global perspective without a parochial nationalistic mentality.
In Dragon Fly and All Is Real,photographs that are seemingly collected at random by the artist are combined with fragments of words and hand drawings,and together they reflect an air of playfulness and chance. The seven fairies from the legendary tale of the meeting at the Magpie Bridge with Dong Yong clash with erotic portrayals,neon glamour, and a hyperreal cheapprettiness; statues of Buddha are paired up with food and sex; Terracotta Warriors and illustrations of tiger heads meet the modern dame;street scenes showing the facades of various stores stand side by side with a hotel reception counter showing a traditional Chinese painting of peonies hung in the background; and skyscrapers, calligraphy,and Westernbrands are all intertwined.
The combination of this free imagery and symbolism, however, releases meanings that are powerful and allegorical:a “composite China” that embodies archaic feudal ideas,ancientculture, and consumerism as a nation of pseudo-traditions andpost-modernity. As an expatriate artist from Germany,Charlotteis struck by the diversity of phenomena in contemporary Chinese society, and she brings together these images and symbols, juxtaposing them inher works. What is presented to us are enlightening pictures ofthe “reality” of this country of the “dragon tattoo,” where culturaldebris and waste confront the fragmentation of modern life.
In both the Strange Pureness and Easiness series we observea heightened depiction of the subjectivity of the artist. Deploying the methodsof commercial posters, Charlotte takes their luscious, disorderly, and cheap attitudes as a point of departure to depict the multitude of phantoms found in commercial culture, the desires of everyday life, and traditional heritage in the era of globalization, which in turn disrupts and destroys the fairy talesof commodity, tastes of fashion, and the order of rationality fervently pursued in our public life today. The spirit of Dada art resides in Charlotte’s workthrough the dissection and introspection of daily life that is being packaged in increasingly charming wrapping paper.
Call the Now makes use of appropriated feminine imagery, ranging from classical portraits of the Roman goddess Venus to the modern women frequently envisioned in mass media. As an embodiment of love and beauty, Venus has been the object of admiration and celebration for generations.From the Venusde Milo by the ancient Greek artist Alexandrosto The Birth of Venus by Sandro Botticelli during the Renaissance, the representations of Venus are the fruit of an idolization of the goddess.Currently, the worship of the goddess manifests itself through the deconstruction of the classics and the construction of a new image of theordinary woman that prevails in mass media. The Venus that bears the label of “Gemäldegalerie Staatliche Museen zu Berlin” (GemäldegalerieStateMuseum of Berlin) has vaporized, and a “new goddess” wearing designerlabels is taking the stage.
Charlotte assembles an image of women created by mass media through means that are magical as much as they are naturalistic.With slender figures and high heels, all of them are an embodiment of the liberated concept of love, beauty, and the avant-garde – even men can’t helpbut cover their eyes and exclaim – but the truth is they are nothing but animage for consumerism produced by the commercial society we live in. This imageis not only useless in improving the social status of women, but actually degrades women as the prey of commodity. In this time of mass media, the myth concocted by consumerist culture is torn up in Call the Now.
In her latest serie Temple, Spider, Network,Temple reflects on the idea of eternity and spiritual thinking as a deep and important issue for the development of human mankind; Spider leads to the subjects of reproduction and passing on in a joyful and at the same time threatening meaning. If there is no fear, you cantake the spider in your hand; Network. A Network is brilliant and colorful.Every single person gives input and meaning to create a network, or network, asa relation to the world, including a big question of our time: who is the spider and who is the network?
Today, collage is no longer a medium of novelty for the artist: what makesa piece of collage artwork stand out is the simplicity of the method and the acuteness of the conception. In an audacious manner, Charlotte borrows from the chaotic form of daily life and the cheesy images of mass media, and edits themtogether without any beautifying or judgmental alteration. Immediately,meanings emerge like oracles, and hallucinatory reality is returned to veracityand purity.