彼特·库尔特

1946年出生于瑞士苏黎世(Zurich)，Beat Kuert目前在阿尔兹欧(Arzo)生活和工作。1966年，他拍摄了他的第一部实验电影，并于1968年起，在苏黎世的图尔努斯电影公司(Turnus Film Zurich)从事导演工作。居住于拉丁美洲一段时间后，他于1971年完成了他的第一部记录片。第二年起，他开始与瑞士-德国电视台(Swiss German Television)合作一系列的文化节目。1996年，Beat Kuert开始拍摄介绍著名建筑师的电视纪录片，其中包括尚·努维尔(Jean Nouvel)、马里奥·博塔(Mario Botta)及赫尔佐格与德穆龙(Herzog & de Meuron)。他曾在卢加诺SUPIS大学及博尔扎诺Zelig电影学校执教。在瑞士，他被公认为是他的时代中最大胆的探险家。2005年，他创立了 dust&scratches，这是一个结合录像艺术、行为表演和音乐的艺术创作团体。他的实验作品包括：《Die Zeit ist böse》, 《Pierrotische Beziehungen》,《Il grande inquisitore》及《Am Ende der Zeit》;他导演过的剧情片中，下列几部堪称代表作: 《Schilten》、《Martha Dubronski》、《Deshima》及《L’assassina》。

电子艺术家

发展情况

Beat Kuert的影像源自于dust&scratches的行为表演;这些影像失去了作为其源头的行为表演——某种形式的身体艺术——之物理形态和现实性，但如同绘画和雕塑一样，获得了一种同样展示着人工特质的诱发力。它们经历了同样的炼金术似的转化。Beat Kuert作品中的象征性人物意喻着一种“生命的存在”，艺术家则将这种存在状态认知为艺术形式或艺术作品。因此，很显然，Beat Kuert是策略性地在创作中使用录像方式，以录制所观察到的活动的录像取代“行为表演”或对活动的直接展示。通过这种技巧，他的作品提供了多种可读性，同时也具备了一种与众不同和理想化的意义。

手法

Kuert的照片作品是取材于自己的录像作品中的画面，那些最具代表性的影像被静止并抽离了，如此，观赏者或许能更加深刻和精细地解读作品。Kuert运用录像图像的变形能力，利用对图形的电子“质地”进行干预的可能性，利用无限分裂的像素、以及极具象征性和隐喻性的电子色彩的可能性，显示出其内在的煽情特质。

风格

Beat Kuert是一位最接近绘画方法的录像艺术家。他退出60年代录像艺术典型的“语言极简主义”行列，走向某种由强烈燃烧般的色彩所组成的“巴洛克式画意”表现风格，此风格透过计算机对影像的干预更为凸显。以往以绘画为手段的“图像之争”，在这里则发生在电子媒介的冰冷天性和同样亦是电子的、热烈铺陈的色彩之间。藉由一个一切具象艺术共有的手段，Kuert以这种方式确证了一种更有意义的“对现实的领悟”。
(Enzo di Martino)

奖项

1979 《Schilten》获评论家奖、评审团特别奖、国际艺术电影协会奖(耶尔电影节)
1979 《Schilten》获普世评审团奖(洛迦诺电影节)
1979 《Schilten》获苏黎世城市奖
1985 《Martha Dubronski》获“Chretiens Media”评审团奖(斯特拉斯堡人权电影节)
1985 《Martha Dubronski》获最佳女主角奖(圣雷莫国际影展)
1985 《Martha Dubronski》获最佳导演评审团奖、最佳编剧评审团奖(布卢登茨电影节)
2005 《Berg und Geist》获Walo奖

展出
部分个展

2010年7月 映画廊，北京(中国)
2010年5月 “VERTIGO(眩晕)”，艺术画廊, 都灵 (意大利)
2010年1月 “Room without a view(看不见风景的房间)”，新波画廊，上海(中国)
2009年11月 “Moving Earth(旋转·地球)”，菲籽画廊，上海(中国)
2009年9月 “Spazio Lectra”, Paolo Errico Collection 2010，米兰(意大利)
2009年6月 “INFINITY// digital expressionism(无限//数码表现主义)”，Iris Schumacher画廊, 柏林(德国)
2008年11月 “DESTROYED LINES(毁坏的界线)”，缘分新媒体艺术空间，北京(中国)
2008年11月 “DESTROYED LINES(毁坏的界线)”, 想象画廊，北京(中国)
2008年3月 苏黎世Finter银行，基亚索(瑞士)
2008年2月 “WHO/MAN(谁/人)”，艺术工作室，马利亚索(瑞士)
2007年8月 “Donna Carnivora(食肉目女人)”, 拉瓦尼安画廊,威尼斯(意大利)
2007年4月 “Donna Carnivora(食肉目女人)”，Scoletta dei Tiraoro e Battioro, 威尼斯(意大利)

出版物

《Tascabili di fotografi della Svizzera italiana》(《瑞士意大利摄影作品集》)
01号《Gaia》(《盖亚》)为Beat Kuert作品
Adriano Heitmann策划
QTI出版社, 斯塔比奥, 瑞士，2010

《Destroyed Lines》
电子书，作者：Beat Kuert，评论：王春辰、Ellen Pearlman、张小涛、Novella Prestigiovanni
Timezone 8出版，北京，2008

《Donna Carnivora》
策划：Enzo Di Martino，出版：dust&scratches，2007

Born 1946 in Zurich, Beat Kuert lives and works in Arzo.

In 1966 he makes his first experimental films and starts to work as a director for Turnus Film Zurich in 1968. In 1971, after a stay in Latin America, he makes his first documentary. The next year he begins cooperating with the Swiss German Television on cultural programs.In 1996 he starts making television documentaries on famous architects, including Jean Nouvel, Mario Botta,Herzog & de Meuron. He taught at the University (SUPIS) in Lugano and at the filmschool “Zelig” in Bolzano.Acknowledged as one of the most audacious explorers of his generation in Switzerland, in 2005 he creates the group “dust&scratches” which is concerned with video art, performances and music. His experimental works include: “Die Zeit ist böse”,“Pi-errotische Beziehungen”, “Il grande inquisitore” and “Am Ende der Zeit”; are considered to be his most important works of fiction: “Schilten”, “Martha Dubronski”, “Deshima”and “L’assassina”.

Electronic artist

Development

Beat Kuert’s images are born from the performances by dust&scratches; they lose their physical aspects and the realism of the performance from which they originate – some sort of body-art - and acquire a valence that reveals the same artificiality as painting and sculpture. They undergo the very same alchemical transformation. His symbolical figures represent a living existence which the artist perceives as form/work of art. It is therefore obvious that Beat Kuert uses a sort of artifice in his work, replacing the “performance”, or the direct display of the event, with the video record of the observed event.Through this artifice, it gains a diverse legibility, and a different and transfigured significance.

Technique

His photographs are stills from his videos, in which the most representative image is stopped and isolated,perhaps to allow a deeper and more elaborated reading.Kuert employs the metamorphic abilities of the video image utilizing the possibility of intervening on the electronic “texture” of the figures, and using the infinite fragmentation of pixels and, the possibilities of the electronic color in a strongly symbolical and metaphoric manner, proclaiming its intrinsic evocative qualities.

Style

Beat Kuert is the video artist closest to the manner of painting. Voiding the “linguistic minimalism” typical of the video art of the 60s and moving towards a sort of “pictorial baroque-like” expression made of strong ignition of colours, accentuated by the interventions on the images made with a computer. The “fight for the image” fought in the past through the means of painting,happens here between the natural coldness of the electronic means and the warm gesture of the spreading of colour, also electronic. With a procedure that all figurate art has in common, Kuert affirms in that way a more meaningful “intelligence of the reality”.

(Enzo di Martino)

Awards

1979 Critics Award, Special Award of the Jury, Award of the International Association Cinema d´Arts et d´Essai (Festival di Hyeres), Schilten
1979 Award of the Ecumenical Jury (Festival di Locarno), Schilten
1979 Award Zurich City, Schilten
1985 Award of the Jury “Chretiens Media” (Festival de droit de l´homme Strasbourg), Martha Dubronski
1985 Best Actress (Mostra internazionale del film d’autore di San Remo), Martha Dubronski
1985 Award of the Jury for Direction, Award of the Jury for Screenplay (Festival di Bludenz), Martha Dubronski
2005 Walo Award, Berg und Geist

Exhibitions
Selected personal exhibitions

2010/7 Inter Gallery, Beijng (China)
2010/05 VERTIGO, Allegretti Contemporanea, Torino (I)
2010/01 Room without a view, New B Gallery, Shanghai (China)
2009/11 Moving Earth, Feizi Gallery, Shanghai (China)
2009/9 Spazio Lectra, Paolo Errico Collection 2010, Milan (I)
2009/6 INFINITY// digital expressionism Galerie Iris Schumacher, Berlin (D)
2008/11 DESTROYED LINES, Yuanfen New Media Art Space, Beijing (China)
2008/11 DESTROYED LINES, Imagine Gallery, Beijing (China)
2008/3 Finter Bank Zuerich, Chiasso (CH)
2008/2 WHO/MAN, Officinaarte, Magliaso (CH)
2007/8 DONNA CARNIVORA, Galleria Ravagnan, Venice (I)
2007/4 DONNA CARNIVORA, Scoletta dei Tiraoro e Battioro, Venice (I)

Publications

Tascabili di fotografi della Svizzera italiana
“Gaia”, No. 01 dedicated to Beat Kuert
Curated by Adriano Heitmann
QTI-publishing, Stabio, Switzerland 2010
“Destroyed Lines”, Videobook by Beat Kuert, critics by
Wang Chunchen, Ellen Pearlman, Zhang Xiaotao and Novella Prestigiovanni,
Timezone 8 Edition, Beijing, 2008
“Donna Carnivora”, catalogue curated by Enzo Di Martino,
Edizioni dust&scratches, 2007

出版物

《Tascabili di fotografi della Svizzera italiana》

01号《Gaia》(《盖亚》)为Beat Kuert作品

Adriano Heitmann策划

QTI出版社, 斯塔比奥, 瑞士，2010

《Destroyed Lines》

电子书，作者：Beat Kuert，评论：王春辰、Ellen Pearlman、张小涛、Novella Prestigiovanni

Timezone 8出版，北京，2008

《Donna Carnivora》

策划：Enzo Di Martino，出版：dust&scratches，2007