Luc Tuymans: Good Luck | David Zwirner
A painting by Luc Tuymans, titled Still, dated 2019.

Luc Tuymans

Good Luck

David Zwirner is pleased to present an exhibition of new work by the renowned Belgian artist Luc Tuymans (b. 1958) at the gallery’s Hong Kong location—his first solo presentation in Greater China.

On view will be a selection of recent paintings and a new single-channel animated video that are drawn from a range of historical and contemporary images. Together the works share an undercurrent, as suggested by the exhibition’s title, of paradox and uncertainty.

 

卓納畫廊於香港空間欣然呈現比利時知名藝術家呂克·圖伊曼斯的新作展——這將是藝術家在大中華地區的首次個展。展覽將呈現精選的近期繪畫作品以及一件單頻動畫影像作品,它們均由一系列歷史及當代的圖像延展而出。正如展覽標題所示,這些作品充滿著一股矛盾與不確定性並存的暗流。

 

Read more 閱讀更多

The gallery is open to the public with a limited number of visitors allowed into the exhibition spaces at a time, in accordance with city guidelines.


卓納畫廊全球各個空間的秋季展覽即將陸續開幕,我們將依據當地政府的相關條例,執行相應的衛生防護措施,並適當限制展廳內的觀展人數。

To schedule your visit, please click here.

請點擊鏈接,預約到訪參觀。

To learn more about the enhanced safety measures currently in place at this location and others, please click here.

如欲詳細了解各地相關防護措施,請點擊此處


Image: Luc Tuymans, Still, 2019

“Breaking up our certainties, using the fragmentary and inadequate as forces in a world that values efficiency and strength, is what Tuymans achieves above all.”

「打破我們的確定性,並且用碎片和不足作為一個推崇效率與力量的世界中的動力,這是圖伊曼斯的首要成就。」

 

—Éric de Chassey, “Precise Paintings of the Uncertain,” in Luc Tuymans: Good Luck, 2020
埃里克·德·沙塞,《不確定性的精準繪畫》,收錄於展覽圖冊《呂克·圖伊曼斯:好運》,2020年

A photo of Luc Tuymans in his Antwerp studio by Mieke Verbijlen in 2020.

Luc Tuymans at his studio in Antwerp, 2020. Photo by Mieke Verbijlen for T Magazine's Artist Questionnaire
呂克·圖伊曼斯在安特衛普的工作室內,2020年。攝影:Mieke Verbijlen,來自紐約時報《T》雜誌「藝術家問卷」

Luc Tuymans at his studio in Antwerp, 2020. Photo by Mieke Verbijlen for T Magazine's Artist Questionnaire
呂克·圖伊曼斯在安特衛普的工作室內,2020年。攝影:Mieke Verbijlen,來自紐約時報《T》雜誌「藝術家問卷」

One of the most influential artists working today, Luc Tuymans was born in Mortsel, Belgium, in 1958. Now based in Antwerp where he has his studio, Tuymans has for more than three decades remained committed to a distinctive,
non-narrative approach to figurative painting. Drawing on a variety of historical and contemporary sources—from archival and newspaper photographs to smartphone snapshots, films, and YouTube—he explores the power of images both to withhold and convey information. The works are executed in a muted palette and maintain a consistent sense of ambiguity.

 

呂克·圖伊曼斯是今日最具影響力的藝術家之一,他1958年出生於比利時莫策爾,如今在安特衛普工作與生活,在過去的三十多年中,他始終致力於使用獨特的、非敘事性的方式來創作具象繪畫。他廣泛地涉獵各種歷史及當代的素材——包括檔案和新聞照片、智能手機拍攝的快照、電影、YouTube等——以此探索圖像在保留和傳達信息方面的力量。這些作品色調肅穆,始終意涵隱晦深邃。

Shenzhen speaks to both the stillness and movement of mainstream trends under Xi Jinping’s regime. Rather than being simply a series of unambiguous statements by a global dissident, these works instead provide avenues for reconsidering emotions, morals, and understandings of history in an unstable world: this opportunity for examination is the most profound conceptual contribution of Tuymans’s practice.”


「《深圳》亦探討了習統治下主流趨勢的靜止與運動。所有這些,並不能簡單理解為一個全球異見分子的宣言,而是在不斷提供思考的途徑,在變動不居中測試自己的情感、道德和認知,這也成就了他實踐中最重要的觀念部分。」

—Su Wei, “The Path of Globalization and Its Footnote: On Luc Tuymans’s Encounter with China,” in Luc Tuymans: Good Luck, 2020
蘇偉,《全球化的路徑與註腳——關於呂克·圖伊曼斯與中國的相遇》,收錄於展覽圖冊《呂克·圖伊曼斯:好運》,2020年

A painting by Luc Tuymans titled Shenzhen, dated 2019.

Luc Tuymans

Shenzhen, 2019
Oil on canvas

83 7/8 x 61 5/8 inches
213.2 x 156.4 cm

 

呂克·圖伊曼斯
《深圳》
2019年
布面油畫
213.2 x 156.4 厘米
背面簽名及日期

A detail from a painting by Luc Tuymans, titled The Secretary of State, dated 2005.

Luc Tuymans, The Secretary of State, 2005 (detail). The Museum of Modern Art, New York
呂克·圖伊曼斯,《美國國務卿》,2005年 (細節)紐約現代藝術博物館收藏

Luc Tuymans, The Secretary of State, 2005 (detail). The Museum of Modern Art, New York
呂克·圖伊曼斯,《美國國務卿》,2005年 (細節)紐約現代藝術博物館收藏

A detail from a painting by Luc Tuymans, titled The Heritage I, dated 1995.

Luc Tuymans, The Heritage I, 1995 (detail). Philadelphia Museum of Art
呂克·圖伊曼斯,《遺產 I》,1995年(細節)費城藝術博物館收藏

Luc Tuymans, The Heritage I, 1995 (detail). Philadelphia Museum of Art
呂克·圖伊曼斯,《遺產 I》,1995年(細節)費城藝術博物館收藏

A detail from a painting by Luc Tuymans, titled The Valley, dated 2007.

Luc Tuymans, The Valley, 2007 (detail). Pinault Collection
呂克·圖伊曼斯,《山谷》,2007年(細節)皮諾收藏

Luc Tuymans, The Valley, 2007 (detail). Pinault Collection
呂克·圖伊曼斯,《山谷》,2007年(細節)皮諾收藏

A detail from a painting by Luc Tuymans, titled Speech, dated 2010.

Luc Tuymans, Speech, 2010 (detail). The Broad Art Foundation
呂克·圖伊曼斯,《致辭》,2010年(局部)。布羅德藝術基金會收藏


Luc Tuymans, Speech, 2010 (detail). The Broad Art Foundation
呂克·圖伊曼斯,《致辭》,2010年(局部)。布羅德藝術基金會收藏


A detail from a painting by luc tuymans, titled Der diagnostische Blick IV, dated 1992.

Luc Tuymans, Der diagnostische Blick IV, 1992 (detail). Long term loan to De Pont Museum, Tilburg, The Netherlands
呂克·圖伊曼斯,《審視之四》,1992年(細節)。長期借賃展品,德龐特藝術博物館,荷蘭蒂爾堡。

Luc Tuymans, Der diagnostische Blick IV, 1992 (detail). Long term loan to De Pont Museum, Tilburg, The Netherlands
呂克·圖伊曼斯,《審視之四》,1992年(細節)。長期借賃展品,德龐特藝術博物館,荷蘭蒂爾堡。

A painting by Luc Tuymans titled Anonymous I, dated 2018.

Luc Tuymans

Anonymous I, 2018

Oil on canvas

52 1/2 x 39 1/8 inches
133.2 x 99.4 cm

 

呂克·圖伊曼斯
《無名者I》
2018年
布面油畫
133.2 x 99.4厘米
背面簽名及日期

An installation view of an exhibition titled Luc Tuymans: La Pelle at Palazzo Grassi, Venice, in 2019.

Installation view, Luc Tuymans: La Pelle, Palazzo Grassi, Venice, 2019
《呂克·圖伊曼斯:肌膚》展覽現場,威尼斯格拉西宮,2019年

Installation view, Luc Tuymans: La Pelle, Palazzo Grassi, Venice, 2019
《呂克·圖伊曼斯:肌膚》展覽現場,威尼斯格拉西宮,2019年

An installation view of an exhibition titled Luc Tuymans: La Pelle at Palazzo Grassi, Venice, in 2019.

Installation view, Luc Tuymans: La Pelle, Palazzo Grassi, Venice, 2019
《呂克·圖伊曼斯:肌膚》展覽現場,威尼斯格拉西宮,2019年

Installation view, Luc Tuymans: La Pelle, Palazzo Grassi, Venice, 2019
《呂克·圖伊曼斯:肌膚》展覽現場,威尼斯格拉西宮,2019年

An installation view of  the Belgian Pavilion of the 2001 Venice Biennale, featuring works by Luc Tuymans.

Installation view, Belgian pavilion, Venice Biennale, 2001
比利時館展覽現場,威尼斯雙年展,2001年

Installation view, Belgian pavilion, Venice Biennale, 2001
比利時館展覽現場,威尼斯雙年展,2001年

An installation view of an exhibition titled Luc Tuymans: Wenn der Frühling kommt/When Springtime is Coming, at Haus der Kunst, Munich in 2008.

Installation view, Luc Tuymans: Wenn der Frühling kommt/When Springtime is Coming, Haus der Kunst, Munich, 2008
《呂克·圖伊曼斯:當春天來臨》展覽現場,慕尼黑藝術之家,2008年

Installation view, Luc Tuymans: Wenn der Frühling kommt/When Springtime is Coming, Haus der Kunst, Munich, 2008
《呂克·圖伊曼斯:當春天來臨》展覽現場,慕尼黑藝術之家,2008年

An installation view of an exhibition titled Luc Tuymans: Intolerance, at Qatar Museums Gallery ALRIWAQ in 2015.

Installation view, Luc Tuymans: Intolerance, QM Gallery Al Riwaq, Qatar Museums, Doha. Photo by Wilfried Petzi
《呂克·圖伊曼斯:不可忍受》展覽現場,卡塔爾美術館 Al Riwaq,攝影:Wilfried Petzi

Installation view, Luc Tuymans: Intolerance, QM Gallery Al Riwaq, Qatar Museums, Doha. Photo by Wilfried Petzi
《呂克·圖伊曼斯:不可忍受》展覽現場,卡塔爾美術館 Al Riwaq,攝影:Wilfried Petzi

An installation view of an exhibition titled Luc Tuymans at San Francisco Museum of Modern Art in 2010.

Installation view, Luc Tuymans, San Francisco Museum of Modern Art, 2010
《呂克·圖伊曼斯》展覽現場,舊金山現代藝術博物館,2010年

Installation view, Luc Tuymans, San Francisco Museum of Modern Art, 2010
《呂克·圖伊曼斯》展覽現場,舊金山現代藝術博物館,2010年

Major presentations of Tuymans’s work have been held internationally since the early 1990s. Recent institutional solo exhibitions include La Pelle, at Palazzo Grassi, Venice (2019); The Return, at De Pont Museum, Tilburg, The Netherlands (2019); and Glasses, at Museum aan de Stroom (MAS), Antwerp (2016), a version of which traveled to the National Portrait Gallery, London (2016).

Good Luck brings together a range of references that reflect ongoing themes of interest for the artist.

 

自1990年代早期以來,圖伊曼斯的作品便廣泛地在各大國際機構進行展出。藝術家近期的機構個展包括:《肌膚》,舉辦於威尼斯的格拉西宮(2019年);《回歸》,舉辦於荷蘭蒂爾堡的德龐特藝術博物館(2019年);以及《眼鏡》,舉辦於安特衛普的MAS河畔博物館(2016年),後巡展至倫敦國家肖像館(2016年)。

本次展覽《好運》匯集了一系列指涉與參考,它們反映出藝術家長久以來饒富興趣的主題。

A painting by Luc Tuymans titled Outfit, dated 2019.

Luc Tuymans

Outfit, 2019
Oil on canvas

79 5/8 x 39 3/4 inches
202.4 x 100.9 cm

 

吕克·图伊曼斯
《套装》,2019
布面油画
202.4 x 100.9 厘米
背后签名及日期

In Outfit, Tuymans depicts a costume worn by Tom Mix, who appeared as a cowboy in nearly three hundred Hollywood Westerns in the 1930s.

 

在《套裝》中,圖伊曼斯描繪了曾經由湯姆·米克斯穿著的戲服,米克斯曾在20世紀上半葉間在將近三百部好萊塢西部片中扮演過牛仔的角色。

 

Depicted as a disembodied prop in a museum, Outfit heightens a sense of artifice that suggests a parallel to the United States’ shifting role in the global export of both culture and goods.

Outfit shares themes in common with the politically charged painting Mwana Kitoko (2000), an important earlier work also depicting a form of costume as part of a series examining the colonial history of Belgium in Africa.

 

作品《套裝》(2019年)描繪的是一具博物館中空洞的服裝道具。通過凸顯其人造的質感,作品提示著在全球市場的背景中,美國在思想和產品的出口方面所發揮的不斷推進與衍變的作用。

《套裝》與充滿了政治意味的畫作《瓦納·科圖克》(2000年)共享著類似的主題,後者是藝術家的早期作品,描繪的也是制服的形式,它屬於圖伊曼斯對比利時的非洲殖民歷史進行反思的系列。

A painting by Luc Tuymans, titled Mwana Kitoko, dated 2000.

Luc Tuymans

Mwana Kitoko, 2000
Oil on canvas

81 7/8 x 35 3/8 inches (208 x 90 cm)
Stedelijk Museum voor Actuele Kunst

 

呂克·圖伊曼斯
《瓦納·科圖克》
2000年 
布面油畫
208 x 90 厘米 
根特市立當代藝術博物館

An installation view of Luc Tuymans’s solo exhibition Good Luck at David Zwirner, Hong Kong, in 2020.

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

An installation view of Luc Tuymans’s solo exhibition Good Luck at David Zwirner, Hong Kong, in 2020.

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

A painting by Luc Tuymans titled Projector, dated 2019.

Luc Tuymans

Projector, 2019
Oil on canvas

61 7/8 x 39 7/8 inches
157.1 x 101.2 cm

 

呂克·圖伊曼斯
《放映機》,2019
布面油畫
157.1 x 101.2 厘米
背後簽名及日期

Despite its title, Projector depicts the interior of a search light. Tuymans frequently depicts light sources in his work, interested both in the visual effects and distortions they create as well as their symbolic resonances. Here, he was further intrigued by the structural nature of the interior of the apparatus, which resembles a chair or scaffolding. Rendered in hazy pink and red tones, the composition seems to project an element of stability and light—which is, in fact, a construction.

盡管作品以《放映機》為題,它實則描繪的是探照燈的內部。圖伊曼斯常常在他的作品中描繪各種光源,他所感興趣的既是它們的視覺及變形效果,也是它們所具有的象征性的共鳴。在這裏,藝術家更深入地為探照燈設備內部的結構所吸引,它看起來像是一把椅子或是一幅腳手架。畫面以朦朧的粉紅色和紅色調呈現,其構圖似乎投射出了一種穩定而輕盈的元素——但實際上,那正是一種建構。

“His work strongly refers to memory and history. That creates a mutual feeling with Chinese artists.”

 

「他的作品非常強烈地指向了記憶與歷史,這一點讓中國藝術家產生了共鳴。」

—Liu Ye
劉野

An installation view of Luc Tuymans’s solo exhibition Good Luck at David Zwirner, Hong Kong, in 2020.

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

An installation view of Luc Tuymans’s solo exhibition Good Luck at David Zwirner, Hong Kong, in 2020.

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Tuymans’s Delft series is based on iPhone photos of ceramic Delftware or “Delft Blue” tiles. Produced in the coastal Dutch city of Delft since the seventeenth century, Delftware mimics the color and quality of fine Chinese porcelain, but is in fact a simple tin glaze, cheaply produced in response to European demand for Ming dynasty ceramics. Delft played a highly influential role in the Dutch Golden Age; for Tuymans, who is half Dutch, it is a symbol of how the circulation of goods and ideas across the globe has shifted over time. 

 

圖伊曼斯的《代爾夫特》系列基於一組他用iPhone拍攝的代爾夫特瓷磚的照片,這種陶瓷也被稱作「代爾夫特藍瓷」。自17世紀以來,這座荷蘭的沿海城市便開始生產這種陶瓷,以模仿精美的中國青花瓷的色彩與質地。事實上,代爾夫特藍瓷是一種簡單的錫釉,它最初是為了應對中國明代瓷器在歐洲的供不應求,而以較為低廉的價格被制造出來。代爾夫特在荷蘭的“黃金時代”發揮著極具影響力的作用,對擁有一半荷蘭血統的圖伊曼斯而言,它象征著商品與思想在全球範圍的流通是如何隨著時間而演變的。

An engraved image of Amsterdam by Peter Schenk the Elder.

An engraved image of Amsterdam by Peter Schenk the Elder
描繪了阿姆斯特丹的蝕刻版畫,由Peter Schenk the Elder創作

An engraved image of Amsterdam by Peter Schenk the Elder
描繪了阿姆斯特丹的蝕刻版畫,由Peter Schenk the Elder創作

A photo of two Delftware tiles.

Delftware tiles
代爾夫特瓷磚

Delftware tiles
代爾夫特瓷磚

“The show is about two basic ideas: trade—globalization—and the idea of
something that is mute.”

 

「這次展覽事關兩個基礎的想法:貿易——全球化——以及有關靜默無言之物的一些想法。」

 

—Luc Tuymans
呂克·圖伊曼斯

A painting by Luc Tuymans titled Tree, dated 2019.

Luc Tuymans

Tree, 2019
Oil on canvas

91 1/2 x 65 3/4 inches
232.3 x 167 cm

 

呂克·圖伊曼斯
《樹》
2019年 
布面油畫
232.3 x 167 厘米 
背面簽名及日期

“The best abstraction is not a picture that doesn’t have an image in it. The best abstraction is a picture that has an image in it, but that image in it remains fairly mute and inert in such a way that its mere presence becomes a force that compels you to be engaged.… There’s an aspect of Luc’s work where it’s imagery, but it’s also abstract in that same sense where it’s just the perfect image.”

 

「最好的抽象並不是一幅畫中不存在的圖像。最好的抽象是一幅畫中有圖像的存在,但是那幅圖像卻保持著沈靜和遲緩,以至於其純粹的存在本身便會成為促使妳介入其中的力量……呂克的作品中有一個方面是作品的圖像,但它們從同一種意義來說也是抽象的,它們是完美的圖像。」

 

—Kerry James Marshall
克里·詹姆斯·馬歇爾

 

A painting by Luc Tuymans titled Raged, dated 2019.

Luc Tuymans

Raged, 2019
Oil on canvas

44 x 54 inches
111.9 x 137.2 cm

 

呂克·圖伊曼斯
《怒》,2019
布面油畫
111.9 x 137.2 厘米
背後簽名及日期

A painting by Luc Tuymans titled Hotel, dated 2019.

Luc Tuymans

Hotel, 2019
Oil on canvas

52 3/8 x 38 7/8 inches
133 x 98.7 cm

 

呂克·圖伊曼斯
《酒店》
2019年 
布面油畫
133 x 98.7 厘米 
背面簽名及日期

“The cowboy is a character from David Lynch’s film Mulholland Drive, in which he is a mysterious and devilish figure indicating jinx every time he appears.… I found that this figure can be traced back to Tom Mix, who came to be famous for his role as a cowboy in many silent films.”


「牛仔的形象來自大衛·林奇的《穆赫蘭道》,他每次出現都預示著厄運,是一個神秘而魔鬼般的形象。深入研究後,我發現這一形象可再向前追溯到Tom Mix飾演的著名的默片牛仔形象。」


—Luc Tuymans in conversation with Modern Weekly, 2020
呂克·圖伊曼斯與《周末畫報》的對話,2020年

A painting by Luc Tuymans titled Still, dated 2019.

Luc Tuymans

Still, 2019
Oil on canvas

35 5/8 x 69 3/8 inches
90.6 x 176.2 cm

 

呂克·圖伊曼斯
《劇照》,2019
布面油畫
90.6 x 176.2 厘米
背後簽名及日期

A painting by Luc Tuymans titled Clown, dated 2019

Luc Tuymans

Clown, 2019
Oil on canvas

75 1/4 x 61 1/8 inches
191 x 155.1 cm

 

呂克·圖伊曼斯
《小丑》,2019
布面油畫
191 x 155.1厘米 
背面簽名及日期

“Tuymans now makes images that could be described as both concrete and stable—because they are paintings in the traditional sense … and completely provisional and transient, because, however vivid each color is (for example, the reds in Still, or the reds and yellows in Clown), they are incorporated into a muted, nonassertive whole.… These are clearly images in transit, originating from any type of source but usually mediated by a screen.”

 

「圖伊曼斯現在創作的圖像既可以被描述為堅實的、穩定的——因為它們是傳統意義上的繪畫……同時又是全然臨時和無常的,因為,無論每一種顏色多麽生動(比如《劇照》裏的紅色或是《小丑》裏的紅色和黃色),它們都被吸納進一個無聲的、不確定的整體……這些顯然是變動中的圖像,可能來自任何形態的出處,但常常是通過屏幕。」

 

—Éric de Chassey, “Precise Paintings of the Uncertain,” 2020
埃里克·德·沙塞,《不確定性的精準繪畫》,收錄於展覽圖冊《呂克·圖伊曼斯:好運》,2020年

An installation view of Luc Tuymans’s solo exhibition Good Luck at David Zwirner, Hong Kong, in 2020.

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

An installation view of Luc Tuymans’s solo exhibition Good Luck at David Zwirner, Hong Kong, in 2020.

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Installation view, Luc Tuymans: Good Luck, David Zwirner, Hong Kong, 2020
《呂克·圖伊曼斯:好運》展覽現場,卓納香港畫廊,2020年

Tuymans is the recipient of numerous honors and awards, among them the Ultima for General Cultural Merit, the Flemish government’s culture prize, in 2020. His work is included in museum collections worldwide, including Art Institute of Chicago; Centre Georges Pompidou, Paris; Fondazione Prada, Milan; The Museum of Modern Art, New York; National Gallery of Art, Washington, DC; Pinault Collection; Solomon R. Guggenheim Museum, New York; and Tate, London.

 

圖伊曼斯是無數殊榮與獎項的獲得者,包括2020年由弗拉芒政府辦法的文化獎章「終極文化功勛」。他的作品被國際各大博物館機構廣泛收藏,包括芝加哥藝術博物館、巴黎龐比度藝術中心、米蘭普拉達基金會、紐約現代藝術博物館、位於華盛頓特區的美國國家美術館、皮諾收藏、紐約所羅門·R·古根海姆博物館和倫敦泰特美術館等等。

A spread from a book titled Luc Tuymans Catalogue Raisonné of Paintings: Volume 1, 1972–1994, published in 2017.

Documenting more than five hundred works from 1972 to 2018, Tuymans’s Catalogue Raisonné of Paintings is available from David Zwirner Books and Yale University Press.

圖伊曼斯的《繪畫作品圖錄全集》收錄了藝術家1972至2018年間創作的超過五百多幅作品,已由卓納圖書和耶魯大學出版社共同出版。

 

“These three volumes are an account of forty-seven years of work by one of the most influential painters of our time.”

「這三卷圖冊紀錄了我們這個時代最具影響力的畫家之一的橫跨四十七年的作品全貌。」

 

Eva Meyer-Hermann, editor of Luc Tuymans Catalogue Raisonné of Paintings: Volumes 1, 2, and 3
伊娃·邁耶·赫爾曼,《呂克·圖伊曼斯繪畫作品圖錄全集》(全三卷)編輯

 

Published in English and bilingual editions on the occasion of this exhibition, Luc Tuymans: Good Luck is the latest in the David Zwirner Books Spotlight Series. Texts by Su Wei and Éric de Chassey, as well as a republished essay by Luc Tuymans, explore the artist’s new works and his engagement with China.

 

此次展覽同期推出了中英雙語圖冊《呂克·圖伊曼斯:好運》,這是卓納香港圖冊「聚焦系列」的最新書目。書中收錄了由蘇偉、埃里克·德·沙塞和呂克·圖伊曼斯撰寫的文章,它們探索了藝術家的全新作品以及他與中國的重要互動。

 

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An image of a book titled Luc Tuymans; Good Luck in the David Zwirner Books Spotlight series, published in 2020.
A detail from a painting by Luc Tuymans, titled Celebration, dated 2019.

Luc Tuymans, Celebration, 2019 (detail)
呂克·圖伊曼斯 ,《慶祝》,2019年(細節)

Luc Tuymans, Celebration, 2019 (detail)
呂克·圖伊曼斯 ,《慶祝》,2019年(細節)

Inquire about works by Luc Tuymans

A painting by Luc Tuymans titled Outfit, dated 2019.

Luc Tuymans

Outfit, 2019
Oil on canvas

79 5/8 x 39 3/4 inches
202.4 x 100.9 cm

 

吕克·图伊曼斯
《套装》,2019
布面油画
202.4 x 100.9 厘米
背后签名及日期

A painting by Luc Tuymans titled Projector, dated 2019.

Luc Tuymans

Projector, 2019
Oil on canvas

61 7/8 x 39 7/8 inches
157.1 x 101.2 cm

 

呂克·圖伊曼斯
《放映機》,2019
布面油畫
157.1 x 101.2 厘米
背後簽名及日期

Luc Tuymans

Television, 2019
Oil on canvas

58 7/8 x 55 7/8 inches
149.5 x 142.2 cm

 

呂克·圖伊曼斯
《電視》
2019年 
布面油畫
149.5 x 142.2 厘米 
背面簽名及日期 

A painting by Luc Tuymans titled Tree, dated 2019.

Luc Tuymans

Tree, 2019
Oil on canvas

91 1/2 x 65 3/4 inches
232.3 x 167 cm

 

呂克·圖伊曼斯
《樹》
2019年 
布面油畫
232.3 x 167 厘米 
背面簽名及日期

A painting by Luc Tuymans titled Celebration, dated 2019.

Luc Tuymans

Celebration, 2019
Oil on canvas

64 7/8 x 115 7/8 inches
165 x 294.2 cm

 

呂克·圖伊曼斯
《慶祝》,2019
布面油畫
165 x 294.2 厘米
背後簽名及日期

A painting by Luc Tuymans titled Raged, dated 2019.

Luc Tuymans

Raged, 2019
Oil on canvas

44 x 54 inches
111.9 x 137.2 cm

 

呂克·圖伊曼斯
《怒》,2019
布面油畫
111.9 x 137.2 厘米
背後簽名及日期

A painting by Luc Tuymans titled Hotel, dated 2019.

Luc Tuymans

Hotel, 2019
Oil on canvas

52 3/8 x 38 7/8 inches
133 x 98.7 cm

 

呂克·圖伊曼斯
《酒店》
2019年 
布面油畫
133 x 98.7 厘米 
背面簽名及日期

A painting by Luc Tuymans titled Still, dated 2019.

Luc Tuymans

Still, 2019
Oil on canvas

35 5/8 x 69 3/8 inches
90.6 x 176.2 cm

 

呂克·圖伊曼斯
《劇照》,2019
布面油畫
90.6 x 176.2 厘米
背後簽名及日期

Luc Tuymans

Cell, 2019
Oil on canvas

67 1/2 x 75 7/8 inches
171.6 x 192.8 cm

 

呂克·圖伊曼斯
《牢房》,2019
布面油畫
171.6 x 192.8 厘米
背後簽名及日期

A painting by Luc Tuymans titled Anonymous I, dated 2018.

Luc Tuymans

Anonymous I, 2018

Oil on canvas

52 1/2 x 39 1/8 inches
133.2 x 99.4 cm

 

呂克·圖伊曼斯
《無名者I》
2018年
布面油畫
133.2 x 99.4厘米
背面簽名及日期

A painting by Luc Tuytmans titled Delft I, dated 2019.

Luc Tuymans

Delft I, 2019
Oil on canvas

53 1/4 x 44 5/8 inches
135.1 x 113.3 cm

 

呂克·圖伊曼斯
《代爾夫特I》,2019
布面油畫
135.1 x 113.3 厘米
背後簽名及日期

 
A painting by  Luc Tuymans titled Delft II, dated 2019.

Luc Tuymans

Delft II, 2019
Oil on canvas

53 1/4 x 52 5/8 inches
135.3 x 133.6 cm

 

呂克·圖伊曼斯
《代爾夫特II》,2019
布面油畫
135.3 x 133.6 厘米
背後簽名及日期

Luc Tuymans

Delft III, 2019
Oil on canvas

52 5/8 x 48 5/8 inches
133.6 x 123.6 cm

 

呂克·圖伊曼斯
《代爾夫特III》,2019
布面油畫
133.6 x 123.6 厘米
背後簽名及日期

A painting by Luc Tuymans titled Shenzhen, dated 2019.

Luc Tuymans

Shenzhen, 2019
Oil on canvas

83 7/8 x 61 5/8 inches
213.2 x 156.4 cm

 

呂克·圖伊曼斯
《深圳》
2019年
布面油畫
213.2 x 156.4 厘米
背面簽名及日期

A painting by Luc Tuymans titled Clown, dated 2019

Luc Tuymans

Clown, 2019
Oil on canvas

75 1/4 x 61 1/8 inches
191 x 155.1 cm

 

呂克·圖伊曼斯
《小丑》,2019
布面油畫
191 x 155.1厘米 
背面簽名及日期

IMAGETK

Luc Tuymans

Owl, 2020
Single channel animated video, 2 sec loop, colour, silent

Overall dimensions variable

 

呂克·圖伊曼斯
《貓頭鷹》,2019
單屏動畫影像,3秒循環,有色無聲
整體尺寸可變

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          Good Luck

          Luc Tuymans

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