Rachel Whiteread


雷切尔.维利特



Whiteread 的多数作品表达的是我们日常的物件，在很多案例里，空间或物件都是空置很久或没人居住的（或称为negative space负空间）。如制造两个集装箱之间的空间，房间里的一个空间细节，家具的底部空间，就打个比方-她说的：建造一个“使用多年以后的残渣”不像很多的青年英国艺术家那么欢迎争论，Whiteread 一直都说她很为这点感到难受。


Whiteread1963年出生于伦敦并在郊区Essex长大，一直到她7岁时全家才搬回伦敦。她是3个姐妹中年级最小的，前面的两个姐姐是双胞胎。


Rachel Whiteread的母亲-Pat Whiteread，也是一位艺术家。2003年去世，享年72岁，她的死为Rachel的作品带来很深刻的影响。她的父亲是一名地理老师，是工艺学院的行政人员，也是一位工会的终生支持者,1989年Whiteread在美院学习的时候去世。Rachel在Brighton工艺美院学习过绘画，在Cyprus College of Art 学习过很短的时间，然后就到伦敦的Slade School of Art学习雕塑。有段时间她在Highgate坟场里修复过因年代久远而损坏的棺材盖。她在1987年开始参展，第一个个展在1988年。她和爱人Marcus Taylor一名雕塑家在过去的犹太人集聚区东伦敦居住和工作。他们有两个儿子。

Embankment 筑提

(2005-2006)








Embankment (2005-2006)

EmbankmentIn spring 2004, she was offered the annual Unilever Series commission to produce a piece for Tate Modern's vast Turbine Hall, delaying acceptance for five to six months until she was confident she could conceive of a work to fill the space [1]. Throughout the latter half of September 2005 and mid-way into October her work Embankment was installed and was made public on October 10. It consists of some 14,000 transluscent, white polyethylene boxes (themselves casts of the inside of cardboard boxes) stacked in various ways; some in very tall mountain-like peaks and others in lower (though still over human height), rectangular, more levelled arrangements. They are fixed in position with adhesive. She cited the end scenes of both Raiders of the Lost Ark and Citizen Kane as visual precursors, she also spoke of the death of her mother and a period of upheaval which involved packing and moving comparable boxes.[3] It is also thought that her recent trip to the Arctic is an inspiration, although critics counter that white is merely the colour the polyethylene comes in, and it would have added significantly to the expense to dye them. The boxes were manufactured from casts of ten distinct cardboard boxes by a company that produces grit bins and traffic bollards.

Critical response

"With this work Whiteread has deepened her game, and made a work as rich and subtle as it is spectacular. Whatever else it is, Embankment is generous and brave, a statement of intent." [3]

— Adrian Searle, The Guardian, October 11 2005.

"Everything feels surprisingly domestic in scale, the intimidating vistas of the Turbine Hall shrunk down to irregular paths and byways. From atop the walkway, it looks like a storage depot that is steadily losing the plot; from inside, as you thread your way between the mounds of blocks, it feels more like an icy maze." [4]

— Andrew Dickson, The Guardian, October 10 2005.


"[looks] like a random pile of giant sugar cubes [...] Luckily, the £400,000 sponsored work is recyclable."[6].

— Stephen Moyes, The Mirror, October 11 2005.

筑提，2004年春天，她被委任为泰特现代艺术馆的 涡轮大厅Turbine Hall 制作一件作品。这个项目被她推迟了5-6个月，一直到她有信心为这个空间制作一个够分量的作品为止。一直到2005年的9月份直10月份，她的作品 筑提 才在10月推出。它包含了14000 个半透明的白色的聚乙烯方盒，以不同的方式摆放，有的堆的像个小山峰，有的底放（人的高度），四方形的，平摆。它们被胶黏在一起。在最后的一景里她引用了2个视觉先驱，失踪的方舟和Citizen Kane 公民凯恩，她也提到了她过世的母亲以及生活中一段需要一直包装和搬动很多箱子的剧变。还有她最近到北极的旅程也被视作为此次的灵感，虽然评论家们说白色在这里只是因为聚乙烯只有白色的，而且如果要去染色的话还会超支。

评论的反应：

Whiteread 在这个作品里加深了她的游戏，使这个作品更丰富，细腻和壮观。不管怎么说，筑提是雅量及勇敢的，是一个意图的陈述。

----Adrian Searle，The Guardian, 2005年10月11日

每个东西都惊人的温馨，一向令人感到紧迫的 涡轮大厅 场景一下子缩为了一些不规则的小道和小径。从上方的走道往下看，像是一个遗失了方向的巨型仓库，从里面看，当你顺着这些筑提方块行走时，这像是个冰做的迷宫。
— Andrew Dickson, The Guardian, 2005年10月10


这像个普通的巨型方块糖堆（...），还好，这个被赞助的400,000英镑的作品是可以被再次循环利用的。
— Stephen Moyes, The Mirror, 2005年10月11日

Water Tower 水塔

1998-2000，纽约的公共雕塑
















cast resin
June 1998 - November 2000
visible from street level at the corner of
West Broadway and Grand Street

Paperbacks 平装本


1997

"House" 房子


London 伦敦 1993 -1994
















请点击阅读关于作品的介绍



点击观看大图

Untitled (Pink Torso)

无题（粉红色的未成品）


1991

Black Books

黑书

1996-97

Ghost 鬼

1990





Ghost engages multiple complex themes: the history of memorial architecture and symbolic space, the history and temporal implications of plaster as a medium that preserves or "freezes" an original, and the unexpected emotional potential of a minimal form.

untitled

无题

1999

Negative Shed   “负”棚

“Untitled” (domestic)

无题 （室内）

2003

Untitled (One Hundred Spaces)


无题（一百个空间）

1997

Untitled (Mattress)

无题 （床垫）

1991

Doorknob

门把手

2001

Installation View

装置 现场图片

(1996)

Visible: Untitled (Orange Bath)

可视的：无题（橘色的浴缸）

(1996)

Visible: Untitled (Grey Bed)

无题（灰色的床）

(1996)

Untitled (Apartment)

无题 （公寓）


2001

Untitled (Apartment)

无题（公寓）

2001

Untitled (Basement)

无题（地下室）

2001

Ether

大气

1990

Rachel Whiteread 24 interruptores alumimio fundido1998

" I hope to challenge the space by developing a degree of intimacy, which somehow relates to all our lives."

“我希望通过发展某种程度上的亲密去挑战空间，这也和我们的生活有关系。”

Vienna Holocaust memorial, perhaps her most prestigious work.

维也纳，大屠杀纪念馆 （或许是她最具声望的作品）

Have you ever wondered what the space under your bed is shaped like? What about the chair you are sitting in, or the area under your desk? Chances are that most of you haven't, so take a moment to think about it. Perhaps your first thought may be of a simple shape, such as a rectangle under your bed, or a square under your seat.

The area you are considering is most commonly referred to as negative space. For those of you who have ever taken a drawing class, this concept might be somewhat more accessible because you probably learned how to document a subject by studying both the positive space (that occupied by an object) and the negative space (that which surrounded it). The point is that everyday we interact with manmade objects that take up space, but rarely do we consider the space surrounding them. To most of us this space has no value or meaning’ it's just air.

However, British, neo-conceptual artist Rachel Whi teread, who was born in 1963, has devoted her career to these forgotten spaces. Using materials such as plaster, plastic, and rubber she creates sculpture based upon the absence of objects, or more specifically the space surrounding or under them.

The first piece she exhibited in 1988, titled "Closet" was a large wardrobe (freestanding closet) that she filled with plaster. Once the plaster solidified the wooden pieces of the original closet were removed leaving only the hardened chalky white substance. For 1990's "Ghost", Whiteread used plaster to fill an entire room. Upon first glance the sculpture appears like a huge white block of stone, however upon further inspection one begins to notice details such as a the indentation of baseboards, a door frame, hinges and light switches that protrude in opposition to their original state. The title accurately reflects the eeriness of the giant solid form, which appears like a mausoleum representing and containing something that no longer exists. In essence Whiteread must destroy objects in order to create, or "free" the space surrounding them.

你有没有想过你床底下的空间是什么形状的？那么你现在坐着的椅子呢？或是你桌子下的那个空间？你多数都不会知道，那么现在想想。可能你先会想到的是个简单的形状，可能你床底下的空间是个四方形，椅子下的不就是个方块吧！

这个你正在思考的空间称为负空间negative space。对学过绘画的人来说，这个观念可能会更容易被理解，因为绘画里学过处理两个空间 - 正空间positive space（物件占领的空间）和负空间（就是正空间的周围）。问题就是我们每一天面对的是这些人造物件充满的空间，我们很少会去想到它们周围的那些空间。对我们大部分人来说这些空间是没有价值的，只是空气而已。

无论如何，英国的新观念艺术家Rachel Whiteread 在她的事业里投入了对这些遗忘的空间创作。利用像石膏，塑料和橡皮等的材料制作对物件周围的空间的雕塑作品。

她的第一件在1988年展出的作品- “橱”是一个巨大的被石膏填满的橱（没有支撑的的橱）。当石膏凝固以后将橱移走留下的就是这个白色的物件了。在1990年的“鬼”的作品里，Whiteread用石膏填满了整个房间。第一眼看这个雕塑就像个白色的石方块。但是细看下去会得到很多如护壁板的缺口，门框，门的铰链，灯的开关等的周围的细节。这个题目也明确的表达了这个巨型固体的阴森，像个表现那些不存在事物的陵墓。基本上Whiteread在毁坏物件的前提上去创造，或可以说是“解放”了那些它们周围的空间。

参看链接；

[url]http://www.mo-artgallery.nl/whitereadwphr.htm





Secondhand, multiple, stereolithograph of laser sintered white nylon, 11 (height) x 10 (depth) x 16 cm. (wide) (4.5 x 4 x 16.6 inches), edition 400, each comes with a certificate, signed and numbered by the artist, 2004

Bench

长椅

2005

This ghostly white sculptural multiple is based on an assemblage of vintage dolls house furniture. The furniture was first arranged by Whiteread in a manner mimicking displays seen outside used furniture stores. Then 3d scans were taken of the arrangement, which were subsequently utilised to create the sculpture using an advanced form of stereolithography. Reduced to a scaled down highly minimal object, traces still remain of the idiosyncrasies of the original model furniture.

Daybed
1999
beech wood and multi-density foams with wool upholstery
16 3/4 x 77 1/2 x 33 3/8 inches
available in four different colors:
light blue, rust, charcoal, taupe


Daybed
1999
beech wood and multi-density foams with wool upholstery
16 3/4 x 77 1/2 x 33 3/8 inches
rust


Daybed
1999
beech wood and multi-density foams with wool upholstery
16 3/4 x 77 1/2 x 33 3/8 inches
charcoal


Daybed
1999
beech wood and multi-density foams with wool upholstery
16 3/4 x 77 1/2 x 33 3/8 inches
taupe


Blue Bed
1992
correction fluid, ink and watercolor on graph paper
18 1/8 x 12 inches

Study for "Room in Plan"
1993
correction fluid and ink on graph paper
23 7/16 x 16 1/2 inches

Rachel Whiteread: Daybed

Fall 2000

The sculptor Rachel Whiteread has designed a daybed, which has been put into production in England. The piece will be shown at A/D this fall for the first time in the United States. All four variations–upholstered in green-brown wool, light blue, tan and dark grey–will be installed along with drawings related to the piece.

Although the upholstered daybed is a classic form in the canon of modernist furniture design, this daybed is closely related to a group of Whiteread's sculptures that explore space underneath a single bed. Horizontal depressions in the upholstered surface mark a bed's slats; a hole in each corner marks the leg in each corner of a bed frame. Lying on the daybed, the viewer is in fact lying on the materialization of the space underneath another bed.


Whiteread's daybed was first installed in the exhibition "Please Touch" at The Lighthouse in Glasglow. Much of the above text is drawn from an essay in that exhibition catalogue, written by Fiona Bradley of the Hayward Gallery, London. For a complete copy of that essay or for furtherinformation about the exhibition, please call A/D at the number below.

Maquette for Monument

纪念牌的模型

摩登象棋

Modern Chess Set


mixed media, board 3 x 67 x 67 cm., box: 24.5 x 75 x 41.5 cm., edition of 7 (3 AP’s), signed and numbered, 2005

Untitled, 2004



Tare II, 2005



Flowers, 2005

Snow Show

雪展

(2004)







"The challenge has been to work in collaboration with an architect [Finnish architect Juhani Pallasmaa] in a completely unfamiliar material. At this point, there is a 3-dimensional model of an actual stairwell space in East London, electronic imagery and a wooden mould that is being constructed in Rovaniemi, Finland. I know that the piece will be made from snow and will have a feeling of solidity; the viewer will be able to walk into it. The form is based upon a simple stairwell space that has been turned by 90 degrees. The exterior of the piece is a pragmatic solution simply reflecting the complex geometry of the interior. The new space should feel familiar and domestic. I hope that it will disorientate the viewer and make one think of other places." [7]

— Rachel Whiteread

这是一个和芬兰建筑师Juhani Pallasmaa合作的作品，材料是雪。

[url]http://album.sina.com.cn/pic/47147e9e0200034j

这老逼太牛了！！！！

嗯.........其实小刘韡的反物质有点这个意思，但是没有人家负物质的来的深刻。
喜欢她！！！

[quote]引用第37楼realimp于2007-01-27 18:52发表的  :
嗯.........其实小刘韡的反物质有点这个意思，但是没有人家负物质的来的深刻。
喜欢她！！！[/quote]

看过黄永PING的沙做的银行吗？抄的太差了！

她一直是我崇拜的艺术家。

这个艺术家我太崇拜了，我的偶像，牛人。

今天才认识，赞一个！喜欢，女性但不女权，作品并带有女性的灵性和扩张的强大。还有一点，看出来了，观念不多说，且重视技艺。

最牛的艺术家

她是我的榜样

了不起啊

额~~~貌似，“负”是学瑙曼的

真的是女的吗！