Richard Serra 在巴黎大宫
发起人:嘿鬼妹  回复数:7   浏览数:3631   最后更新:2008/05/25 19:42:21 by
[楼主] 嘿鬼妹 2008-05-08 08:45:43
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MONUMENTA - RICHARD SERRA


Monumenta昨天开始了:美国艺术家Richard Serra将在法国巴黎的Grand Palais (大宫) 展出他的作品。
Anselm Kiefer, 2007年的时候(第一届Monumenta的时候)说“大宫是天空”,这个句子表达大宫的特点:一个巨大 、光明的跟玻璃房顶的空间。天花板在最高的地方有60米高、整个空间尺寸为13500平方米。


当时Kiefer展览题目是“坠落的星星”,Serra展览叫 “散布”。


安装过程图片

安装过程录象


“这个空间跟其他建筑不一样因为它的光线很透明,让人感觉很轻松,很没有压力的。开始的时候觉得用这个空间难度大。(...) “散布”这个题目指的是当观众在展厅里散步而互相看自己和作品。”Richard Serra


Monumenta
展览时间:从2008年5月7日至6月15日
地点:Grand Palais
[url]www.monumenta.com




安装过程:photo Lorenz Kiensle©Monumenta 2008


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关于Monumenta   

每年大宫邀请一个国际成名当代艺术家做一系列新作品。

第一届Monumenta 2007年举办的。当时Anselm Kiefer做的作品“坠落的星星”引起了许多观众。
这次邀请的艺术家,Richard Serra 制作了一个新作品,一个用钢做的风景。
2009年,大宫邀请了Christian Boltanski参加这个项目。

大宫是1900年造的,为了世界博览会。


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[沙发:1楼] 嘿鬼妹 2008-05-08 09:59:46
Richard Serra 主要作品


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1.Verb List, 1967-68  动词名单

这个行动动词的名单是一种工作议定书,一种艺术宣言。

Composed entirely of action verbs, Richard Serra's Verb List serves as a unique form of working protocol – an artistic manifesto. Serra tries, as he puts it, to 'inform matter with logic', and to apply the verbs to the materials he uses. The artist's power to intervene is confined to these apparently very simple actions, but which, on the scale afforded by a material such as steel, assume quite new technological proportions.



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2.One Ton Prop (House of Cards), 1969 一顿道具

铅 Lead (121.9cm x 121.9cm x 2.5cm)
The Museum of Modern Art, NY. Gift of the Grinstein family. Photo: Peter Moore

“一顿道具”属于Richard Serra的重要作品之一。4张铅版站在一起,互相靠着。这个作品主要关注的是自然平衡和压力。这个作品的危险性(铅版随时可以倒下来)强调这个作品的简单形式。

One Ton Prop is a decisive work in Richard Serra' artistic career. Consisting of four sheets of lead balanced one against the other, One Ton Prop is above all a sculpture about the nature of balance and tension. Richard Serra takes the work of sculpture off its traditional base, and makes it stand upright supported by nothing but its own weight. The energy contained within the work is pregnant with danger: it might topple over at any moment. The imminent possibility of catastrophe dramatises the sculpture's minimalist design with a pervasive aura of suspense that contributes to the beauty of the work.



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3.Circuit, 1972 线路

Laminated steel. Each sheet: 2.4m x 7.3m x 2.5cm. Installation for Documenta 5, Kassel, 1972

比“一顿道具”复杂一点,这里观众也可以在作品里走来走去但不能围着它走。这个作品利用这个空间,中间空间的尺寸比展厅正好小几倍。

A more complex version of an earlier work entitled Strike: To Roberta and Rudy (1969-71), which consisted of a single sheet wedged upright into the corner between two walls, Circuit effects a radical transformation of the space in which it is installed. The four sheets of steel stand without soldering, using nothing but the play of balance and forces in each corner of the room. Unlike One Ton Prop, in which the viewer is restricted to the 'exterior' of the work, viewers here are able to move through and within the sculpture itself, but can never walk all the way around it. The sculpture transfigures the space in which it is housed, and creates a square at its centre, reproducing the exact proportions of the room in reduced size.



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4.Shift, 1970-72 替换

Concrete. Six sections (152.3cm x 27.4m x 20.3cm / 152.3cm x 73.1m x 20.3cm / 152.4cm x 45.7m x 20.3cm / 152.4cm x 36.6m x 20.3cm / 152.4cm x 33.5m x 20.3cm / 152.4cm x 32m x 20.3cm)
Installation at King City, Ontario. Collection: Great Gulf Homes, Toronto

对Richard Serra 来说,空间不是一个固定的,带筐的一个视觉而是一种运动的现象。Shift 是一个用白色水泥做的装置,让观众跟着一条路。艺术家给观众另外一种空间的体验。

For Richard Serra, space can no longer be apprehended from a static viewpoint 'framing' our vision, as has been traditional in Western art since the Renaissance. Serra's work seeks to illustrate the Zen concept of space as a phenomenon to be experienced through movement. In this spirit, Shift is a sculpture consisting of thin concrete blades sunk into the ground, defining a 'promenade' or walk that structures the whole of the terrain upon which it stands. Playing on effects of memory and anticipation, the work offers a new way to experience and apprehend space. Each blade is visible from the end of the one preceding it, and is set at an angle corresponding to the slope of the terrain.



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5.Tilted Arc, 1981 弧线

Steel (3.7m x 36.6m x 6.4cm). Installation on Federal Plaza, New York City. Collection: US General Services Administration, Washington DC. Destroyed by the US government, 1989.
Photo: Ann Chauvet

纽约邀请了Richard Serra做这个作品:一个36米长和4米高的雕塑。这个作品挡住部分Manhattan的风景,人们必须围着它走才能通过花园。这个作品引起了很多反应,人起诉艺术家。。。

The Federal State of New York commissioned Tilted Arc from Richard Serra in 1981. 36 metres long and almost four metres high, the sculpture subverted the panoptic effect of Manhattan's Federal Plaza by blocking views across the space, and forcing passers-by to walk around it in order to cross the square. Tilted Arc exerted a subversive power that drew numerous objections from local people, who secured its destruction following a notorious public trial. In a sinister echo of some of history's darkest hours, Serra was forced to defend in court a work of art that he had nonetheless been commissioned to produce. The affair provoked unprecedented debate on the sensitive issue of public statuary.     



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6.Clara-Clara, 1983

Steel (3.7m x 33.2m x 5.1cm / 3.7m x 32.8m x 5.1cm)
Installation in the Jardin des Tuileries. Collection: Ville de Paris.
Photo: Dirk Reinartz

这个作品原来为蓬皮杜艺术中心制作,最后在Tuileries (卢浮宫花园) 展出了。作品名字是艺术家妻子的名字。
Initially planned for the hall of the Centre Pompidou, to coincide with an exhibition of Serra's work, Clara-Clara eventually went on public show in the Tuileries gardens. Named for the artist's wife, the sculpture consists of two steel parentheses placed back to back, defining an itinerary for viewers moving through its space. The work was installed along the great perspective leading from the Louvre to the Arc de Triomphe, providing a subtle counterpoint to this celebrated axis, cutting through the French capital. For the artist, Clara-Clara initiated a fertile dialogue with what he called the 'baroque' atmosphere of the Tuileries gardens.


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7.Bramme für das Ruhrgebiet, 1998

Steel (14.5m x 4.2m x 12.7cm)
Installation for the Schürenbachhalde, Emscher Park, Gelsenkirchen. Internationale Bauausstellung
Photo: Dirk Reinartz

这个15米高的作品,相当于一个给Ruhr工厂地区的一种贡品。

Bramme für das Ruhrgebiet is an immense, minimalist totem standing nearly 15 metres high, conceived – as its name suggests – as a tribute in steel to the industrial region of the Ruhr. The work stands in the middle of a vast open plain, shattering its horizontality. The sculpture seems to mark a breaking point with the surrounding space; it stands as a frontier, an obstacle, a line of perspective. Evoking the chimneys of the region's steel foundries, Serra's work punctuates the landscape by resonating with the architecture glimpsed in the distance, on the horizon: the viewer's gaze passes imperceptibly from the artistic to the industrial, and vice versa.       


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8.The Matter of Time, 2005 时间的重要性。

From front to back: Torqued Spiral (Closed Open Closed Open Closed). 2003 . Torqued Ellipse. 2003-4; Double Torqued Ellipse, 2003-4; Snake, 1994-97; Torqued Spiral (Right Left), 2003-4; Torqued Spiral (Open Left Closed Right), 2003-4; Between the Torus and the Sphere, 2003-5; Blind Spot Reversed, 2003-5. Guggenheim, Bilbao. Photo: Lorenz Kienzle

专门给Bilbao Guggenheim制作,这个作品由8个迷宫构成的。观众体验不同的空间以及空间变化。
Created especially for the Guggenheim in Bilbao, The Matter of Time is an ensemble of eight labyrinthine sculptures arranged as a linear sequence. The visitor experiences a series of spatial transformations through the succession of ellipses and twisting spirals. The distorting quality of the work as a whole relies on the alternation of varied effects of opening and closure; of complete, contained spaces and connecting passages evoking pipelines, gullets or bottlenecks. Walking from one space to the next, the viewer experiences time itself – as the work'
[板凳:2楼] 098765 2008-05-08 11:52:25
[s:322]
[地板:3楼] guest 2008-05-08 17:24:08
喜欢ing
[4楼] guest 2008-05-11 20:03:20
是  大皇宫
[5楼] guest 2008-05-17 11:10:46
这个google翻译得够呛
[6楼] guest 2008-05-23 11:45:14
看了,很强大!
[7楼] guest 2008-05-25 19:42:21
6.Clara-Clara, 1983
Steel (3.7m x 33.2m x 5.1cm / 3.7m x 32.8m x 5.1cm)
Installation in the Jardin des Tuileries. Collection: Ville de Paris.

Richard Serra也没什么了不起的,不要迷信所谓大师!
这件作品有够烂!把从德芳斯——凯旋门——协和广场——杜勒里公园——卢浮宫金字塔的一眼望到底的中轴线一切两断。用中国话来说就是断了风水,就是那种断子绝孙的作品!
两块大铁板,和巴黎白墙灰瓦的气息完全格格不入。
你们就帮着吹吧!!!!!
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