Lot 15
91.5 x 152 cm ; 94 x 154.5 cm (with frame)
oil on canvas
signed "M. Prvacki" and dated 95 lower right
米連柯·普爾瓦奇基《十一》1995年作 油彩 画布
款识：M. Prvacki 95 (右下)
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Notes:
Milenko Prvacki is one of the most important figures in Southeast Asian contemporary art. Since moving to Singapore in the 1980s, he has continuously expanded the boundaries of abstract language in his teaching and creation. "Eleven" was created in 1995, when the artist completed the transition from figuration to minimalist abstraction. Its pictorial language tends to be cold and restrained, but it contains the tension of order.
This work uses gray-green as the base, and the traces of smearing and scraping are interwoven into a mottled texture. Three sections of black and white structural patterns quietly emerge on the picture, like an architectural sketch, a topographic projection or a memory fragment. The white line outline in the lower right corner presents a slightly mathematical rational structure, showing the artist's exploration of "painting as a thinking space". Although the work seems to be silent on the surface, it contains a strong conceptual thinking in its layout and material relationship.
Prvacki's works have never won by intuition, but rather constructed a "counter-narrative" visual contemplation field, allowing viewers to repeatedly ponder its unspoken meaning while watching. "Eleven" is a whispering yet philosophical abstract masterpiece, which typifies his artistic stance that "painting is philosophy".
米连柯·普尔瓦奇基是东南亚当代艺术的重要人物之一，自1980年代移居新加坡以来，在其教学与创作中不断拓展抽象语言的边界。《十一》作于1995年，正值艺术家完成由具象向极简抽象过渡的关键时期，其画面语言趋于冷峻克制，却内藏秩序的张力。
此件作品以灰绿调为基底，涂抹与刮刻痕迹交织成斑驳肌理，三段黑白构形图样静静地浮现于画面之上，宛如建筑草图、地形投影或记忆片段。最右下角的白线轮廓呈现出略带数学式的理性结构，展现出艺术家对于“绘画作为思维空间”的探索。尽管作品表面看似沉默寡言，却在其布局与材质关系中蕴含浓厚的观念性思维。
普尔瓦奇基的作品一向不以直观取胜，而是构建出一种“反叙事”的视觉沉思场，使观者在观赏中反复揣摩其未言之意。《十一》是一件低声细语却充满哲理意味的抽象力作，典型地体现了他对“绘画即哲学”的艺术立场。 - Condition: Heavy craquelure and some dirt accumulation. Examination under UV light suggests several minor spots of retouching of paint loss. Otherwise the work is in overall good condition as viewed.
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