Leandro Erlich 迈阿密的展览
时间：9月06 日- 11月25日 ， 2006
地点：美国，迈阿密
Leandro Erlich 是阿根廷艺术家，他作品里的建筑有着很大的标志性。如游泳池，在2001年的威尼斯双年展上展出，现在永久常设在日本的金泽美术馆。
[attachment=32754]
Leandro Erlich is an Argentinean artist, born in Bueños Aires in 1973. His work began to get public recognition through such emblematic works as Swimming Pool, exhibited at the 2001 Venice Biennale and now on permanent display at the Kanazawa Museum in Japan. Like Swimming Pool, Erlich’s installations consist of architectural elements, which are usually constructed on a human scale: a staircase, an elevator, a room. The public finds its bearings in these elements through a familiar vision: the everyday elements that form the works. The works are created in a way that makes the viewer a participant, becoming an actor in the work itself. Like a stage set, Erlich’s works offer the possibility of exploring various aspects, letting viewers walk under the water of a pool and experience the sensations and vision of this perspective without getting wet. This work is a good example of the interpretive possibilities offered by Erlich’s work. Material existence is challenged, notably by devices that could be actually elements of a trompe-l’oeil, created with real or fake mirrors that multiply, split or even reverse spaces. Within the sphere of illusions, reversals and reflections, the visitor is invited to experience the artist’s illusionist gifts. But the experience requires the viewer to go beyond the fascination of the optical phenomena to explore the depths of a psychological reality. He does not create a space, but a situation with the public, who is then confronted with the strange experience of his own presence.
时间：9月06 日- 11月25日 ， 2006
地点：美国，迈阿密
Leandro Erlich 是阿根廷艺术家，他作品里的建筑有着很大的标志性。如游泳池，在2001年的威尼斯双年展上展出，现在永久常设在日本的金泽美术馆。
[attachment=32754]
Leandro Erlich is an Argentinean artist, born in Bueños Aires in 1973. His work began to get public recognition through such emblematic works as Swimming Pool, exhibited at the 2001 Venice Biennale and now on permanent display at the Kanazawa Museum in Japan. Like Swimming Pool, Erlich’s installations consist of architectural elements, which are usually constructed on a human scale: a staircase, an elevator, a room. The public finds its bearings in these elements through a familiar vision: the everyday elements that form the works. The works are created in a way that makes the viewer a participant, becoming an actor in the work itself. Like a stage set, Erlich’s works offer the possibility of exploring various aspects, letting viewers walk under the water of a pool and experience the sensations and vision of this perspective without getting wet. This work is a good example of the interpretive possibilities offered by Erlich’s work. Material existence is challenged, notably by devices that could be actually elements of a trompe-l’oeil, created with real or fake mirrors that multiply, split or even reverse spaces. Within the sphere of illusions, reversals and reflections, the visitor is invited to experience the artist’s illusionist gifts. But the experience requires the viewer to go beyond the fascination of the optical phenomena to explore the depths of a psychological reality. He does not create a space, but a situation with the public, who is then confronted with the strange experience of his own presence.
