這場先鋒藝術家瑪麗亞·拉斯尼格在豪瑟沃斯香港的首場個展，精選呈現她1987至2008年間的力作，邀請觀眾深入探索她對「身體意識」——即我們如何感知與感受自身存在——這一直貫穿其創作生涯的深刻詰問。

This first Hauser & Wirth Hong Kong solo exhibition of pioneering artist Maria Lassnig presents a powerful selection of her works from 1987 to 2008, inviting viewers to explore her profound and lifelong investigation into ‘body awareness’—how we sense and feel within our own skin.

推介原因 WHY IT MATTERS

先鋒畫家瑪麗亞·拉斯尼格（1919–2014）的職業生涯涵蓋了逾七十載的密集創作，從二戰結束持續至2014年藝術家辭世。她對繪畫深刻研究的核心，是對「意識與人體關係」——尤其是藝術家自身身體——的獨特興趣，拉斯尼格稱之為「身體意識」（body awareness）。「自我與龍」（Self with Dragon）是拉斯尼格在香港的首場個展，呈獻創作於1987至2008年間的精選繪畫及紙上作品，意在探討其創作手法，理解她對視覺以外知覺的詰問，思考我們的身體如何作為整體去感知，而語言又如何成為其中的組成部分。

The oeuvre of the seminal painter Maria Lassnig (1919 – 2014) covers more than 70 years of intense work between the end of the Second World War and her death in 2014. At the center of her profound research into painting is a unique interest in the relation between awareness and the human body—particularly the artist’s body—which Lassnig termed ‘body awareness.’ Titled ‘Self with Dragon,’ this is Lassnig’s first solo exhibition in Hong Kong. Presenting a selection of paintings and works on paper from 1987 to 2008, the show provides an insight into Lassnig’s approach, how she questions perception beyond the visual, how our body senses as a whole and the ways in which language becomes part of such perceptions.

重點一覽 HIGHLIGHTS

1️⃣ 核心作品與象徵
本場展覽的核心作品為《自我與龍》（Selbst mit Drachen [Self with Dragon]，2005），展覽標題亦取自此作。拉斯尼格援引了西方神話中爬行類、通常帶翼的爬行生物「龍」，象徵對人類的威脅，與其在東亞文化中的對應形象相去甚遠。與這種危險生物的對決，不僅隱喻著外部抗衡，亦指向內在對抗——那些被視為負面的、不受社會歡迎及被壓抑的人格特質。拉斯尼格終其創作都在擁抱這種對抗，在本作中尤為顯著。《勝利》（Viktory [Victory]，1992）創作於1992年拉斯尼格遭遇摩托車事故後不久，畫面上一個寬而有稜角的「V」字圖案，既呈現藝術家的身體姿態，亦是象徵勝利的手勢。拉斯尼格在這幅圖形作品中融合多重元素，塑造出一個會呼吸的頭身合一形象，既顯脆弱又具挑釁意味，模糊了機械、身體與神話之間的界限。

Central Work and Its Symbolism
Anchoring the exhibition is ‘Selbst mit Drachen (Self with Dragon)’ (2005), which the exhibition takes its title from. Lassnig refers to the reptile‑like, usually winged hybrid creature of Western mythology—a dragon—which represents a threat to humankind and bears little resemblance to its East Asian counterpart. The battle against such a dangerous beast can refer not only to external forces but also to internal ones—traits perceived as negative, socially undesirable and repressed aspects of the personality. This is a confrontation that Lassnig has embraced in her art and particularly in this painting. ‘Viktory (Victory)’ (1992) was painted shortly after a motorcycle accident Lassnig had in 1992. The work is marked by the motif of a wide, angular ‘V’—a reference to both the artist’s posture and the gesture of triumph. Lassnig merges elements within this graphic work, producing a breathing head-body that appears at once vulnerable and defiant, blurring the lines between machine, body and myth.

2️⃣ 超越視覺的抽象自畫像
展覽中數幅抽象自畫像超越了現實的「視網膜影像」（retinal image），轉而力求體現身體感知與情感共鳴的現實。在《自我抽象I／蜂巢自我》（Selbst abstrakt I / Bienenkorb Selbst [Self Abstract I / Beehive Self]，1993）中，拉斯尼格將自身形體描繪成一個可滲透的容器，盛滿壓力與能量，最終形成一個類似傳統蜂巢的頭部；而《花般自我》（Selbst als Blüte [Self as a Flower]，1993）則是對衰老的自嘲式反思，以既諷刺又溫柔的筆觸，在女性身體解剖結構與植物形態間建立起視覺類比。

Abstracting the Self-Portrait
Several abstract self-portraits in the exhibition move beyond the ‘retinal image’ of reality, seeking instead to embody a reality that is physically sensed and emotionally resonant. In ‘Selbst abstrakt I / Bienenkorb Selbst (Self Abstract I / Beehive Self)’ (1993), Lassnig depicts her form as a permeable vessel, filled with pressure and energy, culminating in a head that resembles a traditional beehive, while ‘Selbst als Blüte (Self as a Flower)’ (1993) is a self-ironic reflection on aging, drawing visual parallels between female anatomy and plant structures, rendered with irony and tenderness.

3️⃣ 紙上作品的雙重面向
《臥姿人像》（Liegende [Reclining Figures]，2000）與《戀人》（Liebespaar [Lovers]，2003）代表了拉斯尼格晚期紙上作品的雙重面向：孤獨的內在身體，以及親密關係中的曖昧動態。兩件作品均以極簡的線條與色彩，捕捉難以形塑的感知；這些流變中的身體邀請觀者去感受而非解讀。這一凝練的手法在《克林尼夫婦》（Mr and Mrs Kliny，2004）中得到了延續，畫中鬆散的造型暗示著一對困於曖昧關係中的雙人形象。

Ambiguity in Relationships
‘Liegende (Reclining Figures)’ (2000) and ‘Liebespaar (Lovers)’ (2003) represent two facets of Lassnig’s late paper works: the solitary, interior body and the ambiguous dynamics of relational proximity. Both employ minimal line and color to capture sensations that defy clear form; these bodies in flux invite the viewer to feel rather than decode. This distilled approach continues in ‘Mr and Mrs Kliny’ (2004) where loosely rendered forms suggest dual figures locked in ambiguous relation.

4️⃣ 極簡單色的身體輪廓
展覽同時展出僅以粉彩或鉛筆創作的精選作品，如《軀幹與下半身》（Ober und Unterkörper [Torso and Lower Body]，1990）及《多樣性》（Die Vielfalt [Diversity]，2003）。這些單色作品將身體剝離至最本質的輪廓，卻仍具有深刻的表現力。拉斯尼格曾詮釋其紙上作品的意義：「每幅素描都是潛在的油畫，因為我從不將素描重複繪成油畫，它們是自主存在的。」

The Essence of Line and Form
The exhibition also features a selection of works in pastel or pencil alone, such as ‘Ober und Unterkörper (Torso and Lower Body)’ (1990) and ‘Die Vielfalt (Diversity)’ (2003). These monochrome compositions strip the body down to its barest contours yet remain deeply expressive. Commenting on the significance of her works on paper, Lassnig states, ‘Each drawing is a would-be oil painting, for I never repeat any drawing as an oil painting, they are autonomous.’

背景 BACKGROUND

「我赤身走到畫布前，沒有既定的目的、計劃、模特或照片。我任一切自然發生。但我確實有一個起點，它源於我的體悟——唯一真實的現實是我的感覺，它們在我身體的界限內上演。」

——瑪麗亞·拉斯尼格

‘I step in front of the canvas naked, as it were. I have no set purpose, plan, model or photography. I let things happen. But I do have a starting point, which has come from my realization that the only true reality are my feelings, played out within the confines of my body.’

— Maria Lassnig

拉斯尼格於1940年代首次發展出其「身體意識」理論；在隨後的幾十年間，她以極具衝擊力的視覺語言呈現其身體與情感狀態，常將自己描繪成支離破碎的、混種的，或是與抽象形狀、機械裝置及動物直接對話的形態。

Lassnig first developed her theory of ‘body awareness’ in the 1940s; in the decades that followed, she rendered her physical and emotional states in arresting visual terms, often portraying herself as fragmented, hybrid or in direct dialogue with abstract shapes, machines and animals.

小貼士 TIPS

不必強求「讀懂」每一件作品——讓藝術主動靠近你，並在觀展時細心覺察：你的身體，正在感受什麼？

Don’t worry about “understanding” each piece—instead, let the artworks reach out to you, and pay attention to what you feel in your own body as you experience them.

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瑪麗亞·拉斯尼格「自我與龍」Maria Lassnig. Self with Dragon

日期 Dates
2025.9.26 – 2026.2.28

地點 Venue
香港中環皇后大道中8號G樓
Hauser & Wirth, G/F, 8 Queen’s Road Central, Central, Hong Kong

圖片提供：瑪麗亞·拉斯尼格、豪瑟沃斯香港｜Courtesy of Maria Lassnig, Hauser & Wirth Hong Kong