攝影/Anew、FiXER Photographic Studio
Mario Weinber ＠新竹市鐵道藝術村
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)
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.
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。
藝術家Instagram : marioweinberg