超级资料——马修.巴尼Matthew Barney(不断更新补充中)
发起人:嘿鬼妹  回复数:19   浏览数:14108   最后更新:2011/01/09 19:55:13 by nanbaba
[楼主] 嘿鬼妹 2006-02-27 16:53:45
“总的来说,拍的做法,光线,像标准妖怪片一样。电影会这样跟着一种美学方向,速度不断的变。恐怖片风格的开头突然会变成Art Deco (装饰艺术派),嘿社会的风格”



美国先锋艺术家/导演
马修.巴尼自1990年至今几乎参加了全世界所有重要的国际艺术展,1996年获美国古根海姆博物馆当代艺术大奖。1994年到2002年,巴尼创作了一部五段式艺术电影《玄思性与死》。他最近的实验电影《DrawingRestraint9》曾在去年威尼斯电影节上亮相,主演是他的妻子比约克。


简历
1967年        生于美国旧金山
1989年        获耶鲁大学学士学位
目前在纽约生活和工作

个展:
1988年        “痂的行动——纽约录像展”,美国纽约
1991年        美国纽约、旧金山
1994年        “悬丝肖像展”,美国洛杉矶
1997年        “悬丝5”,德国法兰克福
1998年        “悬丝5”,西班牙巴塞罗那
1999年        “悬丝2”,美国明尼阿波利斯

群展:
1990年      素描展,美国纽约
1992年      第九届卡塞尔文献展,德国卡塞尔
1993年      第四十五届威尼斯双年展,意大利威尼斯
1995年      “’95水面涟漪”,日本东京
1996年      第十届悉尼双年展,澳大利亚悉尼
1998年      “伤痕——在当代艺术民主与拯救之间”,瑞典斯德哥尔摩
1999年      卡内基国际艺术展,美国匹兹堡
2000年      新近摄影作品展,美国纽约


Biographie

b. 1967, San Francisco
Matthew Barney was born March 25, 1967, in San Francisco. In 1989, he graduated from Yale University, New Haven. Since then, he has created work that fuses sculptural installations with Performance [more] and video. His singular vision foregrounds the physical rigors of sport and its erotic undercurrents to explore the limits of the body and sexuality. In this, the artist’s work reflects his own past as an athlete, while also being attuned to a new politics of the body evident in the work of many contemporary artists. Barney’s ritualistic actions unfold in hybrid spaces that evoke at once a training camp and medical research laboratory, equipped as they are with wrestling mats and blocking sleds, sternal retractors and speculums, and a range of props often cast in, or coated with, viscous substances such as wax, tapioca, and petroleum jelly. Indeed, his earliest works, created at Yale, were staged at the university’s athletic complex. Within this alternative universe, Barney’s protagonists—including an actor dressed as Oakland Raider Jim Otto, and the artist himself naked or cross-dressed—engage in a metaphoric dance of sexual differentiation.

Barney’s exploration of the body draws upon an athletic model of development, in which growth occurs only through restraint: the muscle encounters resistance, becomes engorged and is broken down, and in healing becomes stronger. This triangulated relationship between desire, discipline, and productivity provides the basis for Barney’s meditation on sexual difference. These athletic and sexual references converge in Otto’s jersey number “00,” which becomes a leitmotif for the artist’s ongoing exploration of a polymorphous sexuality. Woven cipherlike throughout Barney’s work, this motif variously appears as if marking elapsed time in his videos, and in altered form as a single oblong, resembling a football field. For the artist, however, the oblong represents “the orifice and its closure—or the body and its self-imposed restraint.” Homonymic with the word “auto,” Otto also suggests autoeroticism, or a closed, self-sufficient system.

Barney began work on the Cremaster cycle in 1994. Eschewing chronological order, he first produced Cremaster 4 (1994), followed by Cremaster 1 (1995), Cremaster 5 (1997), Cremaster 2 (1999), and Cremaster 3 (2002). Along with each feature-length Cremaster film, which Barney writes and directs, and in which he often plays one or more roles, the artist has created related sculptures, drawings, and photographs. This epic cycle has as its conceptual departure point the male cremaster muscle, which controls testicular contractions in response to external stimuli. The project is rife with anatomical allusions to the position of the reproductive organs during the embryonic process of sexual differentiation: Cremaster 1 represents the most “ascended” (or undifferentiated) state, Cremaster 5 the most “descended” (or differentiated). The cycle repeatedly returns to those moments during sexual development in which the outcome of the process is still unknown—in Barney’s metaphoric universe, these moments represent a condition of pure potentiality. As the cycle evolved over eight years, Barney looked beyond biology as a way to explore the creation of form, employing narrative models from other realms, such as biography, mythology, and geology.

In 1991, at the age of 24, Barney was honored with a solo exhibition at the San Francisco Museum of Modern Art. The Museum Boymans-van Beuningen, Rotterdam, organized a solo exhibition of his work that toured Europe throughout 1995 and 1996. Barney has been included in many international exhibitions, such as Documenta in Kassel in 1992, the 1993 and 1995 Biennial exhibitions at the Whitney Museum of American Art, New York, and Aperto ’93 of the 48th Venice Biennale, for which he was awarded the Europa 2000 Prize. Barney has been awarded numerous other prestigious awards, including the Guggenheim Museum’s Hugo Boss Prize 1996; the Skowhegan Medal for Combined Media in 1999; the James D. Phelan Art Award in Video by the Bay Area Video Coalition in 2000; and the Irish Museum of Modern Art Glen Dimplex Artists Award in 2001. Matthew Barney: The Cremaster Cycle, an exhibition of artwork from the entire cycle organized by the Guggenheim Museum, premiered at the Museum Ludwig, Cologne in June 2002 and subsequently traveled to the Musée d’Art Moderne de la Ville de Paris and the Solomon R. Guggenheim Museum in New York.


马修.巴尼,“悬丝”网站 (英语)

请点击下面联接阅读:
The Cremaster Cycle by Matthew Barney



文章(汉语)

漂亮的和痛苦的 --关于马修·巴尼的电影

马修.巴尼的魔语(一)

与“悬丝”有关——马修•巴尼访谈录



文章 (英语)

biographie guggenheim

eyestorm article Matthew Barney

matthew barney versus donkey kong - 电脑游戏和艺术电影比较

The Importance of Matthew Barney, Michael Kimmelman, New York Times Magazine

Cremaster is a Wrap, David Kehr, New York Times

Man vs Cremaster – The 10-hour Test, John Rockwell, New York Times

The Cremaster Cycle, Armond White, New York Press

Free to Play and Be Gooey, Michael Kimmelman, New York Times




采访 (英语)

Interview with Matthew Barney

Interview with Matthew Barney(









CREMASTER 5

Set in Budapest, Cremaster 5 is performed as an opera complete with Jacobin pigeons, a lovelorn queen, and her tragic hero. The narrative flows from the Hungarian State Opera house to the Gellért baths, which is inhabited by water sprites frolicking in a pool of pearls. As the cycle's concluding chapter, the film traces the story of final release, a physical transcendence that is misunderstood and mourned as loss.
[板凳:2楼] 嘿鬼妹 2006-02-27 17:09:54
关于DRAWING RESTRAINT

DRAWING RESTRAINT 7. (1993.) Installation: three color video monitors, three laser-disc players, three laser discs, steel-and-polyethylene monitor bracket, and six fluorescent lights and fixtures, dimensions variable, central unit overall: c. 30" (76.2 cm) high x 44" (111.8 cm) diameter.



DRAWING RESTRAINT has been Matthew Barney's continuous project since 1987. The works were inspired by the idea that resistance makes muscles larger and stronger due to hypertrophy. "The DRAWING RESTRAINT project proposes resistance as a prerequisite for development and a vehicle for creativity," said Barney. In DRAWING RESTRAINT 1 and 2, Barney drew running up an incline while strapped with an elastic band. In DRAWING RESTRAINT 3, he lifted a barbell cast in petroleum wax and petroleum jelly. DRAWING RESTRAINT 7 is a three multi-channel video installation. In a limousine entering Manhattan, a hairless satyr chases his tail in the front seat, while in the back seat, two developed satyrs "one ram and one ewe" wrestle. Using the tip of the ram?s horn the ewe attempts to draw a ram horn in the condensation on the sunroof. This is an installation constructed with photographs and sculpture with the theme of the changing roof, drawn by satyrs.
[地板:3楼] 30岁的包工头 2006-02-27 17:11:37
马修.巴尼和我是哥们,他在中国的展览今年我承包了
[4楼] 11yio 2006-02-28 03:30:59
顶啊
[5楼] allgo 2006-02-28 09:16:21
干净的有点恶心,喜欢他的神道道!!!!
我想没人能作成这样. [s:62]
[6楼] 小兵张嘎 2006-03-03 08:34:19
[7楼] 小兵张嘎 2006-03-03 08:35:59
[8楼] 小兵张嘎 2006-03-03 08:36:54
[9楼] 小兵张嘎 2006-03-03 09:16:06
Carolyn Sortor - Creamistress 6












[10楼] 小兵张嘎 2006-03-03 09:23:20
Fruit Fly (with help from Sean Meyer and Dan Levenson) - Kremaster













[11楼] 小兵张嘎 2006-03-03 09:25:55
Tobias Wong













[12楼] 小兵张嘎 2006-03-03 09:27:49
Dax van Aalten - The Mammarymaster Cycle











[13楼] 叮叮 2006-03-05 13:23:13
[14楼] 叮叮 2007-04-05 09:34:30
Drawing Restraint 9 Trailer

[15楼] nanbaba 2011-01-09 19:36:30










[16楼] nanbaba 2011-01-09 19:40:51
The Deer House, 2010 Next Wave Festival, BAM
I’m So torn that I am NOT going to go see this piece, ”The Deer House” at BAM ( premiers on October 5). I’ll be out of the town… for the entire period while this piece is showing. The Next Wave Festival every year at BAM always brings something intriguing. And for this year, ” The Deer House” will be that intriguing piece to me. By the way Vollmondo ( Full Moon) , the modern dance piece by Pina Bausch ( with all my respect for her) also looks quite amazing. The short clip of the Deer House shows already enough of intensity of this piece in great amount of mad beautiful costumes very much inspired by Matthew Barney’s works ( actually maybe TOO much inspired and not sophisticated enough as Barney’s that is disappointing in a way I have to say). I would love to go see this show so I can properly review the piece but anyhow seeing it from the video clip and reading what is all about, it sounds quite interesting. So if anyone of you go see it, drop me an e-mail like you always do.
Here I collected a few of what main inspiration of the Deer House may have come from (apart from the story) : watch Matthew Barney’s cremaster . And below a few pic of Matthew Barney’s work. I mean how much he had inspired this world we all live in. Genius!









“A lot of my work has to do with not allowing my characters to have an ego in a way that the stomach doesn’t have an ego when it’s wanting to throw up. It just does it.” – Matthew Barney.







[17楼] nanbaba 2011-01-09 19:43:26










[18楼] nanbaba 2011-01-09 19:46:58
Matthew Barney - Ambergris and Winch in Fleshing Station, 2005/2010








[19楼] nanbaba 2011-01-09 19:55:13
Matthew Barney: Prayer Sheet with the Wound and the Nail

This year Schaulager is presenting Drawing Restraint by Matthew Barney. Drawing Restraint is a series of performances, numbering sixteen thus far, in which Matthew Barney leaves traces in an environment of self-induced physical and psychological restraints. Works emerging from these performances, such as sculptures, vitrines, drawings and videos, are juxtaposed in the Schaulager exhibition with works of art from the Northern Renaissance. 12 June - 3 October 2010




Artist : Matthew Barney
Title : Drawing Restraint 15
Date(s) : 2007
Credit : Photo : Neville Wakefield, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 13
Date(s) : 2007
Credit : Photo: Chris Winget, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 9
Date(s) : 2005
Credit : Photo: Chris Winget, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 7
Date(s) : 1993
Credit : Photo: Michael James O’Brien, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 9: Amphibious Landing
Date(s) : 2006
Credit : Photo: Öffentliche Kunstsammlung Basel, Martin P. Bühler, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 9: Dynamic of Internal Relation
Date(s) : 2006
Credit : Photo: Öffentliche Kunstsammlung Basel, Martin P. Bühler, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 15
Date(s) : 2007
Credit : Photo: Neville Wakefield, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 15
Date(s) : 2007
Credit : Photo: Kanoa Baysa, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 17
Date(s) : 2010
Credit : Photo: Hugo Glendinning, courtesy Schaulager Gallery and the artist


Artist : Matthew Barney
Title : Drawing Restraint 17
Date(s) : 2010
Credit : Photo: Hugo Glendinning, courtesy Schaulager Gallery and the artist

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