Finding Mario  - Mario Weinberg 專訪 ● 你好藝術

撰文 /李育萱

攝影/Anew、FiXER Photographic Studio

2019/11/3

Mario Weinber ＠新竹市鐵道藝術村

十坪大的工作室裡，充滿了顏料的氣味。地上滿是各種創作需要用的媒材、工具，不時還會不小心踩在被Mario淘汰的畫布上。左右兩側牆面，構成了一個欣賞畫作的適切距離，於是我們坐在一端的鐵椅上，Mario則站在另一端的牆面前，一幅一幅地手動更換作品並和我們討論創作。

這是Mario第二度來到亞洲駐村，上一次他在上海停留了三年。環境上的改變對人有實質影響，更別說作品總是直接或間接地反應藝術家的當下狀態。「我喜歡和大家討論『為什麼』我這樣創作，而不是我『創作了什麼』。」撇開亞洲環境到底影響Mario什麼，更直觀貼近他的作品，除了使用抽象平面的描述外，這位德國籍的藝術家在畫布上，一次又一次提問「在(舉凡創作手法到人生)的眾多選項裡，是否可以不做選擇，而是一次『全部』選擇？」

The smell of paint lingers in the air of a thirty square meter studio. With the floor covered in art paraphernalia and materials, it is difficult to avoid stepping onto Mario’s discarded canvases. Having us sit on a metal stool facing the walls to our left and right, distant enough to appreciate the painting which Mario starts to roll open in front of one of them, he engages us in a conversation about arts.

This is the second time Mario is in an Asian art residence. The last time he stayed in Shanghai for three years. Changes in the surroundings have substantial influence over people, and to an artist, the current state that he or she is in reflects, more or less directly, to the work at hand. “I like to discuss about why I create something like this, rather than what I have created”.

How Asia has affected Mario aside, reading more into his work than just the descriptions of his abstract paintings, the German artist utilizes his canvas to question time and again midst the multitude of choices to make - ranging from painting techniques to live itself - whether it is possible to abstain from making a choice of any kind, or to opt for choosing everything.

上/下   Mario Weinberg公益藝術展 - One Steps Closer @亞典藝術書店 (2019) 

看過Mario過往作品的人大都可以了解，他的繪畫技巧讓他足以勝任各種畫派，然而如何把這件「人生中的最愛」玩到淋漓盡致，從他對創作命題的堅持到作品展現，可以清楚感受到他的決心。今年3月進駐藝術村後，Mario已經分別在台北、新竹3個不同的場域裡，開過3次個展；7個多月下所累積的作品表現，緊扣命題卻又充滿新意。「比起畫出好看、美麗又或是畫面和諧的作品，我更希望觀看作品的你是充滿疑問和好奇。」更別說，這個命題他耕耘了20多年且持續衝撞自己。
 

繪畫對於Mario是極度自由的表現，因為在畫布上他不需要做出選擇。究竟該如何理解他的的作品，Mario給了大家一些觀看他畫作的線索：「每當我畫下一個具體的形狀，同時我會用一個抽象的物體去衝撞它；每當我畫下一個可閱讀的符號，同時我會用一個不可辨識的物體去回應；每當我畫下帶有投射意義的色彩，同時我會用意想不到表現去牴觸。」換句話說，要了解Mario的作品，其實無跡可尋，他創造了一種新的語言，但可以接受大家的不同解讀。

新竹在地藝術系學生來參觀Mario的工作室並和他交流；離去前，一位正在為自己是否該成為藝術家的女孩問他：「作品能不能被人了解重不重要？」Mario用了一個自身的經驗來答覆：「我也曾經好奇自己是否真的非常需要社交，作品需要被別人了解；所以我挑戰自己每天只往返工作室和住處，這樣沒有社交的生活，幾乎持續了9個多月，直到我覺得可以了。」作品能不能被了解並不重要，重要的是Mario很清楚知道他是為自己而畫。

上/下 Mario Weinberg 個展 - PART TIME Agnostic (3D) @Sculptor Barber (2019) 

Though Mario’s painting technique renders him capable of different styles of painting, many of those who have seen his past works understand why he has chosen to run amok with the “passion of his life”, from forming the proposition to the revelation from thereof, and have come to appreciate his determination. After beginning his artist residency in March, Mario has already held three exhibitions in three different venues in Taipei and Hsinchu, exhibiting all his works from the past seven months that stick to the subject matter yet are loaded with new meaning. “In opposed to painting a pleasant, beautiful or harmonious work, I rather hope that you, as an observer, become fused with questions and interest”. He has cultivated this paradigm for more than twenty years and still continues to further run across himself.

To Mario, painting is an utmost expression of freedom; on canvas, he does not need to make choices.

For understanding Mario’s works, he gave us some clues how to look at his paintings: “Whenever I paint a fixed shape, I also employ an abstract object to collide with it; whenever I paint a known symbol, I also employ an unknown object in response; whenever I paint with a color that casts meaning, I also employ a meaningless representation to contradict it”. In other words: there are no matter-of-fact leads to understanding Mario’s work, for he has come up with a new language that is receptive to the audience’s different interpretations.

Local art students from Hsinchu have come to see Mario’s studio. They are discussing with him, and as they are about to leave, one of them - probably wondering whether or not to become an artist herself - asks Mario, “is it important that the work can be understood”, to which Mario replies from his personal experience: “I was also once curious about whether social interaction and having people be able to understand your work is all that important, so I challenged myself to go back and forth between home and the studio every day for nine months straight, void of social life, until I felt OK with it”.

It is not important whether the works can be understood. Important is that Mario knows for certain that he paints for no other than for himself.

About Mario

德國籍平面藝術家，畢業於德國明斯特藝術學院（Academy of Fine Arts Münster），作品已獲德國著名私人收藏、拜耳收藏機構購入，亦曾在知名美術館展出，如柏林馬丁葛羅皮亞斯展覽館（Martin Gropius Bau, Berlin）、上海中華藝術宮（China Art Museum, Shanghai）等地。

2013 在上海擔任駐村藝術家

2016 在柏林生活和創作

2019 在新竹市鐵道藝術村駐村藝術家

藝術家網頁：www.marioweinberg.com
藝術家Instagram : marioweinberg