汉斯。哈克汉斯。哈克汉斯。哈克汉斯。哈克汉斯。哈克
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[楼主] 嘿乐乐 2006-06-01 02:30:59
汉斯。哈克

Hans Haacke





In an interview with CNN, Haacke said, "This is something that is very grave for all of us if free speech in this city is no longer guaranteed, and the mayor threatens artists and cultural institutions."

在一次CNN电台对哈克其中一个针对纽约市长作品的采访中,哈克说:这对我们大家来说都是很悲哀的,如果这个城市已经失去了它对言论自由的保证,而市长却依然这样威胁着艺术家和文化机构。

Artist Hans Haacke: Museums afraid of me

Whitney heiress says funds will stop

The Art Libel

访谈

访谈
[沙发:1楼] 嘿乐乐 2006-06-01 02:43:56
Another art exhibit riles New York mayor


The 'Sanitation' display makes a political statement


Giuliani says Haacke's work is "an entirely inappropriate way to describe the Holocaust"

March 21, 2000
Web posted at: 10:24 p.m. EST (0324 GMT)

From CNN's Phil Hirschkorn and Deborah Feyerick

NEW YORK (CNN) -- New York Mayor Rudy Giuliani is upset by the world of art again, this time over a display that makes a political statement.

"Sanitation" by German-born artist Hans Haacke (HAHK-uh) was seen for the first time Tuesday as part of a press preview for the Whitney Museum's Biennial 2000 show.

The installation is described as a sharp rebuke of would-be censors of art and free speech. Last year, Giuliani's wrath was provoked by a controversial show, "Sensation," at the Brooklyn Museum. That show, which made a religious statement, featured a painting of the Virgin Mary made in part with elephant dung.


The mayor's remarks and his attempt to cut off funding for the Brooklyn Museum -- an effort that failed in court -- inspired Haacke. The artist is using some of Giuliani's quotes in "Sanitation."

"We will do everything we can to remove funding for the Brooklyn Museum until the director comes to his senses," Giuliani said during last year's controversy.

Here's what "Sanitation" looks like:

In a square, gray room, six anti-art quotes from political figures are posted on a wall, three on each side of mounted American flags.

Three quotes are from Giuliani, with one each from former presidential candidate Pat Buchanan, Christian Coalition founder Pat Robertson and North Carolina Sen. Jesse Helms. The quotes are in the Gothic-style typeface once favored by Hitler's Third Reich.

On the floor is a framed excerpt of the First Amendment of the U.S. Constitution. And standing upright are a dozen garbage cans with speakers emitting military marching sounds.

There are no pictures of Hitler, none of Giuliani and no Nazi symbols or images of the Holocaust.


Giuliani says Haacke's work is "an entirely inappropriate way to describe the Holocaust"  

So why is the mayor upset?

"It's an entirely inappropriate way to describe the Holocaust and to try to compare situations to Nazism that have no basis in comparison to it," Giuliani said. "I think it dishonors the memory of the people who lost their lives during the Holocaust."

However, the mayor said he is not personally offended by Haacke's work -- which he has not seen. And because the Whitney is run by private funds, the city government has little leverage regarding it.

However, at least one Whitney heir agrees with Giuliani. Marylou Whitney, a daughter-in-law of museum founder Gertrude Vanderbilt Whitney, has redirected a planned $1 million donation to a different museum in Cody, Wyoming.

But two other Whitney heirs who are active museum trustees -- Flora Miller Biddle, the founding Whitney's granddaughter, and Fiona Donovan, her great-granddaughter -- back the exhibit and Haacke's work.

Art critic Robin Cembalest said of Haacke's work: "I see it as being more political rhetoric than a simplistic parallel between Giuliani and Hitler."

In an interview with CNN, Haacke said, "This is something that is very grave for all of us if free speech in this city is no longer guaranteed, and the mayor threatens artists and cultural institutions."

Haacke said he wants museum visitors "to think about the First Amendment and the threats to the First Amendment we are seeing."

Haacke is one of 97 artists chosen to display work in the biennial Whitney exhibit, which is intended to showcase emerging and established contemporary artists. The exhibition opens to the public Thursday and runs through June 4.

"This will be a show that challenges you. This is part of what art is meant to do," Whitney director Maxwell Anderson told CNN.

Whether it invokes images of the Holocaust or raises issues of free speech, the controversy surrounding the work is bound to boost ticket sales.
[板凳:2楼] 嘿乐乐 2006-06-01 02:56:46


ARTISTS RIGHTS SOCIETY
"Helmsboro County" by Hans Haacke


"Helmsboro Country" by Hans Haacke is part of the new show at the CAC.
(TERRY DUENNES/The Post) .
[地板:3楼] 嘿乐乐 2006-06-01 02:58:26




哈克的艺术可以被归类为观念艺术。在他的作品里我们不难发现他所多数关注的是复杂的社会题材。
自60年代,他开始献身于制作有关艺术,资本和权利之间关系认知的作品。在 Portikus 的展览中他参照了之前备受争议的德国国会大厦项目,国联邦议院在2000年4月份通过了此项目。项目的第一个阶段在其间完成了。哈克在天井中安装了一个21x7米的矮箱,矮箱里呈现了霓虹灯写的---献给民众,这和在大门口上的碑铭(献给德国人民)作为互动。国会联邦议院的成员也同时被邀请在字体的周围填上土囊。在同年九月12日国会联邦议会的会长Wolfgang Thierse将开始此项目的第二阶段,让草皮自然的生长。
[4楼] 嘿乐乐 2006-06-01 03:04:03
Hans Haacke
b. 1936 Cologne, lives in New York
[attachment=95695]
"Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time System, as of May 1, 1971" 1971

142 photographs of New York apartment buildings, 2 maps of New York's Lower East Side and Harlem with properties marked, 6 charts outlining business relations within the real estate group.

Edition of 2. Collection Musee National d'Art Moderne, Centre Georges Pompidou, Paris.

[

这是哈克在纽约古根汉姆美术馆一个声名狼藉的作品,在开幕展前的第六个星期便被查封。展览的策划人Edward Fry当时被解雇而引起了一系列由艺术团体组织的抗议也陆续的在美术馆发生。据推测这件事情的起因是由房地产大亨Shapolsky在美术馆理事的朋友发起的,但是并没有得到任何证明。这个作品叙述了房地产大亨Shapolsky从1951年到1971的黑暗交易。

This is the infamous work that was supposed to be part of Haacke's solo exhibition at the Guggenheim Museum in New York that was abruptly cancelled six weeks before it was due to open. The curator, Edward Fry was fired and a series of protests organized by the art community was staged at the museum. It was speculated that Shapolsky's friends on the Guggenheim's board of trustees were responsible for the cancellation although the allegation was never proved. The piece describes the shady dealings of his real estate firm between 1951 and 1971.



哈克也同时引用了集团赞助人的一些口号制作了一个关于这文献的海报“我们不是赞助人,我们要我们花钱换回来的东西,而且现在就要得到。”“谁出钱,谁控制”
Haacke also executed a new poster project for this Documenta using quotes from corporate sponsors such as "We are not patrons. We want something for the money we spend. And we are getting it." "Whoever pays, controls."
[5楼] 嘿乐乐 2006-06-01 03:26:59

Hans Haacke: Grass Grows 1969. Erde, Winterweizen, Roggen, Licht, Wasser. Temporäre
Installation Andrew Dickson White Museum of Art, Ithaca
[6楼] 嘿乐乐 2006-06-01 03:28:11

Hans Haacke, Blue Sail, 1964/1965



Hans Haacke's "Blue Sail" (1964-65) comes from a moment now remembered as the cusp of post-minimalism, when various artists first concerned themselves with rooting a work's form in the process of its making or the moment of its perception.

The piece consists of a swath of bright blue fabric, held aloft by four weighted cords and kept in constant fluid motion by currents from an oscillating electric fan on the floor beneath it.

Visitors to the Los Angeles Museum of Contemporary Art's 2004 exhibition "A Minimal Future? Art as Object, 1958-1968" saw "Blue Sail" in a context that underlined Haacke's shift of emphasis from art object to concept. Since the '60s, he has persisted in that direction to the point where people now think of him as a politically motivated conceptual artist who uses objects only as props.

When it was new, the electric fan in Haacke's piece must have looked merely like a tool necessary to effect an idea. At this distance in time, we may connect it more readily to similar fans that appear works by Pop artists such as Claes Oldenburg, Tom Wesselmann and Ed Kienholz, who then seemed to stand across a philosophical divide from people such as Haacke and Robert Morris.

"Blue Sail" adds a key work of time-centered sculpture to SFMOMA's collection of '60s art, one that also anchors the critique of color-field abstraction implicit in some of the museum's other defining works of the period.

哈克的“蓝色帆布”(1964-65)现在被看作后极简主义的尖峰,当时很多艺术家开始关注于作品在制作过程中形式的实质以及对作品片刻间的感知。
作品由一条蓝色的布组成,布的四边由绳子绑紧,下端是一个不断旋转的电子风扇。哈克在这个作品里把艺术品转移至观念。自60年代起他就坚持地往这个方向走,现在人们却认为他是个利用艺术为道具的政治运动观念艺术家。
在那个年代,作品里的电风扇仅仅像个影响观念的道具。事隔那么久,我们现在可以把它联系到很多波普艺术家如Claes Oldenburg, Tom Wesselmann 和 Ed Kienholz 作品里的风扇,和哈克及莫里斯的哲学形成了对立。
[7楼] 嘿乐乐 2006-06-01 03:34:10

Collateral 1991
[8楼] 嘿乐乐 2006-06-01 03:36:23

Untitled
[9楼] 嘿乐乐 2006-06-01 03:37:04

Untitled #1
2005
[10楼] 嘿乐乐 2006-06-01 03:37:56

Untitled #2             2005
Overall: 65 x 19 3/8 x 13 inches (165.1 x 49.2 x 33 cm.)
broomstick: 60" long, 3" diameter (152.4 cm long x 7.6 cm diameter)
[11楼] 嘿乐乐 2006-06-01 03:40:05



Hans Haacke. U.S. Isolation Box Granada, 1983, 1984

An exhibition analysing the political aspects and the element of activism in the artistic practices that have emerged from the second half of the fifties up to the present day. The repertoire of this show questions the aesthetic artefact and posits in its place a utilization of art as an instrument of social observation and critical practice.

The project deploys works and documents with the aim of stimulating debate on the role of the street as a theatre for spontaneous activities, art as service, fiction and the construction of the historical memory, the post-functional object, activism and collaborative working, the questioning of the concept of authorship, alternative models of exhibition and the function of artistic practice in an ideological context.
[12楼] 嘿乐乐 2006-06-01 03:42:07

Condensation Wall
1963-1966




Hans Haacke, "Condensation Cube", 1963

早期的作品,哈克已经在关注体系和过程的问题了。1962年-65年的《凝聚立方体》作品里印证了相关体制对于自身周围环境的依赖,温度的变化致使了水的蒸发和箱子内壁的凝聚。
哈克的《凝聚立方体》是个能够很好理解观念艺术和当代生活的教材。这里,需要考虑的问题包括:应该如何概括和理解这个作品的内容呢?它的内容是什么?我们可以在什么程度上去解释这个作品?这个作品可以被理解为一个贮藏装置吗?如果可以那么它贮藏的又是什么呢?
[13楼] 嘿乐乐 2006-06-01 03:44:51
[14楼] 嘿乐乐 2006-06-01 03:45:04



[15楼] 嘿乐乐 2006-06-01 03:45:35
[16楼] 嘿乐乐 2006-06-01 03:46:42
[17楼] 嘿乐乐 2006-06-01 03:47:07
[18楼] 嘿乐乐 2006-06-01 03:58:29
Hans Haacke's poster project - white posters featuring negative space of the World Trade Center towers' silhouettes - commemorates
September 11th. Starting on the six-month anniversary of the attacks through March 25, 2002, Haacke's posters appeared on scaffolding
and media walls across the City with remnants of previous posters occupying the void of the missing towers. Haacke's project reminds us
that the events of September 11th have created a filter through which we experience and measure our everyday realities.
To extend the gesture to the surface of our computer desktops the project is available online as a downloadable desktop application.
In the desktop version, screen-savers, browsers, files, and applications become the shadows of the World Trade Center towers.

The Haacke project is Creative Time's second poster campaign in response to September 11th. The medium bears particular relevance for
a public art project due to its widespread public visibility and historic implementation by artists.

Hans Haacke is an artist based in New York. For decades, he has produced challenging works that focus on interaction and conflict,
both in nature and in society - how they affect our visual culture, and thereby our sense of the world.





[19楼] 嘿乐乐 2006-06-01 04:00:20



[20楼] 嘿乐乐 2006-06-01 04:32:14




Haacke feels compelled in his work to comment on the history of the museum and the function it plays in contemporary society. His main focus has been on audience interpretation and the context in which objects are displayed. He also focuses on the history of the museum and its relationship to imperialism and how much of the objects in British collections were infact stolen from the countries they invaded and exhibited like trophies.、
哈克在他一个指向博物馆历史及其在当代社会角色的作品中感到激动。他的目标在于观众的解读和展示物品的内容。同时也关注博物馆和帝国主义的历史关系以及英国是如何的把他们很多其实都是在侵略中偷回来的的文物当成战利品一样的呈现在博物馆中。


"For the past fifteen years, Hans Haacke's work has been concerned with issues that are at the core of postmodern investigations - the nature of art as institution, the authorship of the artist, the social behavior of the art world, the network of cultural policies such as the role and function of the museum, the critic, and the public, and many other sociological problems."
在过去的15年中,哈克的作品关注于一些核心的后现代研究--艺术的自然制度,艺术家的身份,艺术世界的社会行为,文化政治的网状关系如美术馆的体系,批评家,大众和其他一些社会问题。

Haacke challenges audiences perceptions as he continually critiques the museum. His installations may seem confusing to viewers who stumble upon them, as he simply uses objects in the museum collection to create an installation. The choice and arrangement of objects in the installation is important as they contain subtle messages.
在批判美术馆的同时哈克也向观众的感知提出挑战。他的装置作品似乎绊着,扰乱着观者,尤其他只是简单的利用了博物馆的文物作为装置。但是这些文物的选择和摆放都是非常重要的因为他们暗示着一些敏感的信息。
[21楼] 嘿乐乐 2006-06-01 04:33:42
[22楼] 嘿乐乐 2006-06-01 04:52:56
[23楼] 嘿乐乐 2006-06-01 05:08:22

Hans Haacke
Germaina
Venice Biennale, 1993


[http%3a//www.kunst.uni-stuttgart.de/seminar/haacke/bilder/innen2.jpg>


Hans Haacke, Germania (1993): responding to the Nazi horror
photo Roman Mensig, ?Hans Haacke/VG Bild-Kunst
[24楼] 嘿乐乐 2006-06-01 06:06:52






一切开始于哈克在惠特尼美术馆的作品--《Sanitation》清理,一个明显为反射布格林美术馆声名狼藉的的《Sensation》展。纽约市长和其党羽利用了其中一个背靠在墙上的垃圾箱,军伐声装置和一排写了:Gothic Fraktur(一个古老的德国口号,希特勒曾用其复苏德国主义精神) 的字体攻击哈克拥有反犹太倾向。

“我非常失望”,艺术家哈克对在市中心的新艺术丑闻事件中说。针对他在惠特尼美术馆里的装置引起的狂热:“我做过无数次关于德国过去的作品,现在我被误为反闪米特人分子,被告为对犹太人不敬而感到悲痛,是的。”
[25楼] 嘿乐乐 2006-06-01 06:15:25






Visitors’ Profile consists of a questionnaire about contemporary events that was distributed to museum visitors to a group exhibition in Milwaukee. While Haacke had used questionnaires in his works before, this particular questionaire was the first time that he successfully used a computer to compile the results and generate a statistical profile of the exhibition’s audience. This important historical work introduces the idea of visitorsplaying an active role in their information environment and “completing” the work of art.
[26楼] 嘿乐乐 2006-06-01 06:23:04





[27楼] ionly 2006-06-01 07:01:30

Hans Haacke MOMA Poll (1970)



In 1970, at the Information center of the Museum of Modern Art, Hans Haacke posited this query, a response algorithm, and its visual feedback/evolving result as art:

Would the fact that Governor Rockefeller has not denounced President Nixon's Indochina Policy be a reason for you not voting for him in November?

"Ballots" were dropped into either of two plexi-glass ballot boxes (visitors chose "yes" twice as often as "no").

1970年,哈克在moma的信息中心安置了这个疑问,一个运算程序,是一个直接的视觉反馈/艺术所展开的结果:

你会不会因Rockefeller 没有公开谴责尼克松总统对印度支那的政策而在11月份不投票给他?

“票”将会投进两个塑料玻璃箱里(观众们投的“是”是“不”的一倍)
[28楼] ionly 2006-06-01 07:02:38


Hans Haacke, Bowery Seeds (Bowery Samen), 1970 New York City, New York, © VGBild-Kunst

For Bowery Seeds, Haacke carved out a small circular area of earth, enabling airborne seeds to take root.
[29楼] ionly 2006-06-01 07:04:11
[30楼] ionly 2006-06-01 07:04:35
[31楼] ionly 2006-06-01 07:05:03
[32楼] 妈的笑死人了 2006-06-01 07:07:02
上黑社会前看来还需要把英语水平锻炼好啊!
[img]http://img.mop.com/images/face/309.gif[/img] 哈哈哈哈
[33楼] 嘿乐乐 2006-06-01 07:12:10
楼上说的对阿! 别烦我忙死了
[34楼] 嘿乐乐 2006-06-01 07:15:55
HAACKE, Hans.
WaveI, 1964

140cmx20cm
[35楼] 嘿乐乐 2006-06-01 07:19:53

Hans Haacke - Beach Pollution - 1970 - Espagne
[36楼] 嘿乐乐 2006-06-01 07:28:08
Th artistic activities of Hans Haacke (b. 1936, living in New York) can be situated in the context of concept art.
In his works, Hans Haacke is concerned with complex social contexts. Since the '60s, the artist is dedicated, among others things, to creating awareness of the relationships between art, capital, and power. In the exhibition at Portikus, Hans Haacke makes reference to his controversial project for the Berlin Reichstag building; the Bundestag (Lower House of Parliament) consented to its realisation on April 5, 2000. The first phase of the project has meanwhile been completed. In a low box measuring 21 x 7 metres installed on the floor of one of the two light-wells, Haacke's dedication DER BEVÖLKERUNG (TO THE POPULATION) was set in white neon-sign letters to complement the inscription DEM DEUTSCHEN VOLKE (TO THE GERMAN PEOPLE) located above the entrance portal. The members of the Bundestag have been invited to strew soil from their respective constituencies around the letters. On September 12, the President of the Bundestag, Wolfgang Thierse, will initiate this second phase of the project. Spontaneous growth will be left to itself.
The exhibition additionally alludes to the architectural parallels and the significant differences between the pictorial programmes and the inscriptions of the Frankfurt portico and the portico of the Reichstag building. Hans Haacke has thus developed a version of his Berlin project conceived especially for this specific context.
[37楼] 嘿乐乐 2006-06-01 07:29:21
[38楼] 嘿乐乐 2006-06-01 07:47:26
Located on the Munster promenade there is a war memorial Ehrenman am Mauritztori. The sculptor Bernhard Frydag chiseled on his monument the following dedication.," 1864 1870-71 1866 IN MEMORY OF WARS AND VICTORIES AND THE REESTABLISHMENT OF THE REICH". These dates refer to the wars Bismarck waged against neighbors of Prussia. This war is known in the German history books as the German-Danish War which led to the annexation of Schleswig-Holstein by Prussia and ( for two years) Austria. and the German French war. In 1871, in Versailles, the Prussian King Wilheim I was proclaimed emperor of the newly established Reich. Since 1815, Munster has been part of the Prussian province Westphalia. The monument Ehrenmal am Mauritztor is popularly called,"Masentempel" (monument of asses). Haacke has erected right next to this monument , exactly in the diameter and height (6 to 7 meters) cylindrical shack made from rough blanks. Barb wire is placed around the top t prevent the wall from being scaled. A children's carousel with lights and music (De