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以雕塑作品而国际闻名的克拉斯•奥登伯格（1929年生于瑞典斯德哥尔摩）和库斯杰•范•布鲁根（1942年生于荷兰格罗宁根，2009年于加州洛杉矶逝世）把日常用品以一种熟稔的关系转化为一种非预期的关系，来制作雕塑，绘画和大型公共雕塑作品。他们第一次真正的合作开始于一件户外雕塑 Flashlight（1981），而奥登伯格从1976年起就开始向布鲁根询问关于作品的一些意见，即他的作品Trowel在荷兰东部城市奥特洛的科伦-米勒博物馆(Kroller Muller Museum)的展出，恰逢布鲁根在此期间作策展人。布鲁根曾经叙述道：“奥登伯格会询问我的想法，我可能会提出一些修改意见。但是对于Flashlight这件雕塑作品，则改变了我的工作重心。从那时起我决定要和他一起合作并完全退出评论的工作。”

Plantoir, 2001

painted aluminum, stainless steel and fiberglass

7.26m

Photography courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

手铲

铝板绘画，不锈钢，玻璃纤维

7.26m

2001

Photography courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

布鲁根是一个有成就的艺术史学家，策展人，作家，发表了许多关于奥登伯格，弗兰克•盖瑞，格哈德•里希特，布鲁斯•南蒙，约翰•巴尔代萨里的评论和文章。在开始她的科伦-米勒博物馆策展人的职业生涯之前，她在1967-1971年在阿姆斯特丹市立博物馆作为一名策展工作人员—这是一个她对于概念艺术，大地艺术，和贫穷艺术的重要探索阶段。除此之外，在1971-1976年间，布鲁根还在荷兰东部城市恩斯赫德(Enschede)艺术学院教授艺术史和艺术课。在二十世纪50年代末至60年代初波普运动中发出自己独到见解的奥登伯格在纽约的艺术殿堂登峰造极。结合资本主义观念的艺术和庸俗不堪，高雅与媚俗，对实物艺术的探索贯穿了奥登伯格和布鲁根早期合作的作品。

Typewriter Eraser, 1977

acrylic on aluminum, stainless steel and Ferrocement

88.9 x 88.9 x 71.1 cm

Photography by Ellen Labenski, courtesy Pace Gallery

© Claes Oldenburg

打字机橡皮擦

铝上丙烯，不锈钢和铁丝网水泥

88.9 x 88.9 x 71.1 cm

1977

Photography by Ellen Labenski, courtesy Pace Gallery

© Claes Oldenburg

奥登伯格和布鲁根一起接受并完成了许多大型作品的任务，而这四十多件大型的作品遍布世界各地。奥登伯格和布鲁根之间的合作关系被形容为“对立面的结合”，布鲁根时常闪现一个对于作品的想法，继而由奥登伯格绘图并制作一个模型。通常来说，布鲁根选择作品的颜色和装置的地点，将她的想法、知识与审美融入到制作过程中。他们会通过制图来沟通，因此与他们的大型雕塑相伴的是一系列精细的手稿---两个思想平日里娓娓碰撞的对话。艺术家二人组时常流连在纽约城和洛杉矶的繁华喧闹，与他们在法国卢瓦尔河谷城堡的悠闲宁静中。

Houseball, 1985

canvas, over aluminum frame and polyurethane foam, painted with latex, tied with rope approximately

3.66 m in diameter

Photograph by Lee B. Ewing, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

房球

帆布，在铝框架和聚氨酯泡沫上用乳胶绘画，并用绳子粗略捆绑

直径3.66米

1985

Photograph by Lee B. Ewing, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

在他们33年的合作生涯中，探索并虚化实物艺术和身份的界限成为了他们共同的探讨课题。他们创作的“软”雕塑，比日常物品尺寸略大的雕塑---一个用画布做成的大汉堡，一个用塑料做成的马桶，用萎靡下垂的石膏演绎着寻常的家庭生活用品----这些全部作品都挑战了艺术史的传统。艺术家们采用了一种绘画式的方式来用画布做成雕塑表面，并且不断的逐层施与颜色而不是混合色彩，并且用石膏和乳胶漆来使得表面坚硬。他说道，“我仍然在画布上创作，还是作为一个画家试图填满空白的平面。”像布鲁根提出的，奥登伯格通过“被遗弃的物品结合卡夫卡式荒诞的调性使得他的感受和抽象的想法结合成一个具体的现实”。确实，在他的软雕塑中，物质本身和能量被逐渐的消解。奥登伯格描述他的作品“架子鼓”（Drum Set）为一种“我想要展示的自然状态，一种条件—一个物体本身所展示的‘软’的状态。软化物体的最后一击像在一个高峰，给予他功能性和经典型的一击。灵魂升入天堂，留下或颓废的形体，或坚硬的凝固了的物体。”

Claes Oldenburg

Miniature Soft Drum Set, 1970

Serigraph on canvas, washline, wood, spray enamel, wood covered with serigraphed paper

overall installation dimensions variable

21.6 cm x 48.3 cm x 35.6 cm, minimum

克拉斯·奥登伯格

微型柔软架子鼓

布面丝网，清洗管，木料，喷涂瓷釉，木料覆盖丝网纸

1970

尺寸可变（最小尺寸21.6 cm x 48.3 cm x 35.6 cm）

奥登伯格说，“1967年秋天，古根海姆美术馆举办了国际雕塑展，当时为此，我决定去做一套柔软的架子鼓，因为它跟美术馆这个建筑本身有相似之处。这个主体以及它所有的装饰是不可能很精细的，特别是在它“柔软”的状态下。为了能将其在展览之前的画册上展示出来，我发现很有必要缝制一个帆布的小模型，喷了黑色的瓷釉后，我把它放置在了一个粗糙面的威士忌包装盒上。年末的时候，这个模型变成了Multiples, Inc公司制作的第二个版本。这个素描版的模型大小很合翻版，但它极其的随意、私人化并且破旧，这似乎完全不可能被复制。而就它本身的个体性来说，翻模并不适合，我也把这一点当做一个挑战。它的柔软度使得这件作品的每一个版本都很独特”。

他们在国内外已经展出了巨型雕塑，标志物，和各种为大型作品而创作的模型。展览包括：休斯顿门尼私人收藏，2009 (Drawings on Site: Claes Oldenburg and Coosje van Bruggen at The Menil Collection, Houston,2009)，惠特尼美国艺术博物馆，2009 (Claes Oldenburg and Coosje van Bruggen: The Music Room at the Whitney Museum of American Art, 2009)， 都灵当代艺术博物馆，2007(Claes Oldenburg and Coosje van Bruggen: Sculpture by the Way at Castello di Rivoli, Museo d’Arte Contemporanea, Turin, 2007)，大都会博物馆顶层画廊，2002（Claes Oldenburg and Coosje van Bruggen on the Roof at the Metropolitan Museum of Art, 2002）。这对艺术夫妻的作品同样也被一些机构永久收藏，例如：纽约古根海姆美术馆(the Guggenheim Museum, New York)，瑞士巴塞尔艺术博物馆(Kunstmuseum Basel, Switzerland)， 科隆路德维格博物馆(Museum Ludwig, Cologne)，华盛顿国家艺廊(National Gallery of Art, Washington, D.C.)，伦敦泰特艺廊(Tate Gallery, London)，巴黎蓬皮杜艺术中心(the Centre Georges Pompidou, Paris)。

The Eternal Paradise of Pop art

Internationally renowned for their sculptural practice, collaborative duo Claes Odenburg (b. 1929, Stockholm, Sweden) and Coosje van Bruggen (b. 1942, Groningen, Netherlands, d. 2009, Los Angeles, California) produced sculpture, drawings, and colossal monuments that transformed ordinary and familiar relationships with objects into the unexpected. While their first full collaboration began with the monumental outdoor sculpture, Flashlight, 1981, Oldenburg began consulting with van Bruggen about his works in 1976 during the process of his installation of Trowel I at the Kröller-Müller Museum in Otterlo, the Netherlands, where van Bruggen was curator. As van Bruggen had intimated, "Claes would ask me what I was thinking and I might suggest a few changes. But with the 'Flashlight,' the whole sculpture changed at my prompting. That was when we decided either to work together or I would stop commenting."

Claes Oldenburg and Coosje van Bruggen

Floating Peel, 2002

fiber-reinforced plastic painted with polyester gelcoat

4.2  x 2.6  x 148.3 cm

Photography by Kerry Ryan McFate, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

克拉斯·奥登伯格/范·布鲁根

飘动的果皮

纤维增强塑料，聚酯凝胶涂层

4.2  x 2.6  x 148.3 cm

2002

Photography by Kerry Ryan McFate, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

Coosje van Bruggen was an accomplished art historian, curator, and writer, authoring several essays and monographs on Oldenburg, Frank Gehry, Gerhard Richter, Bruce Nauman, and John Baldessari, among others. Prior to serving as curator at the Kröller-Müller Museum, van Bruggen began her career as a member of the curatorial staff at the Stedelijk Museum in Amsterdam from 1967 to 1971— a pivotal era for investigations in Conceptual, Earth Art, and Arte Povera. She also co-edited the catalogue for “Sonsbeek 71,” an exhibition of contemporary sculpture held in Park Sonsbeek, Arnhem. In addition to this, Van Bruggen had taught fine arts and art history at the Academy of Fine Arts in Enschede, the Netherlands, from 1971 to 1976.

Claes Oldenburg and Coosje van Bruggen

Collar and Bow 1:16, 2005

aluminum painted with acrylic and polyurethane enamel

127 x 127 x 101.6 cm

Photography by Ellen Labenski, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

克拉斯·奥登伯格/范·布鲁根

衣领和蝴蝶结（16倍大）

丙烯铝板，聚氨酯瓷釉

127 x 127 x 101.6 cm

2005

Photography by Ellen Labenski, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

Together, Oldenburg and van Bruggen worked on large-scale commissions, producing more than forty Large-Scale Projects in locations as diverse as Marfa, Texas, and Tokyo, Japan. Referring to their mutual partnership as a “unity of opposites,” van Bruggen typically generated the idea for a project, which Oldenburg would then illustrate in a model or drawing. More often than not, van Bruggen selected the color of works and scouted the sites of their installations; lending her ideas to process and imparting her own keenly formed knowledge and aesthetic into these collaborative projects. The artists communicated through drawings, so that their monumental sculptures are accompanied by a prolific body of intricate documentation—glimpses and whispers into the dialogue of these two minds. The duo split their time between the bustle of New York City, Los Angeles, and their peaceful chateau in the Loire Valley, France.

Claes Oldenburg and Coosje van Bruggen

Balzac Pétanque, 2002

fiber-reinforced plastic, cast epoxy and stainless steel painted with polyester gelcoat

2.45  x 13.59  x 16.79 m

installation dimensions variable

Photograph by Ellen Page Wilson, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

克拉斯·奥登伯格/范·布鲁根

巴尔扎克的滚球戏

纤维增强塑料，不锈钢绘画覆盖环氧树脂和聚酯凝胶涂层

2.45  x 13.59  x 16.79 m（尺寸可变）

Photograph by Ellen Page Wilson, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

"I chose to make a soft drum set for the International Exhibition of Sculpture, which was held in the autumn of 1967 at the Guggenheim Museum, because of its resemblance to the architecture of the building. The subject, with all its accessories, was impossibly detailed, especially in its "soft" state of collapse, and in order to visualize it in a drawing for a catalogue in advance of the exhibition, I found it necessary to have a small model sewn out of canvas, which I sprayed with black enamel and set on a rough platform made from a Canadian Club whiskey carton. Later in the year, this model became the unlikely subject for the second edition done with Multiples, Inc. The sketch had the scale suitable for a multiple, but it was an extremely casual, intimate, and shabby object that seemed completely unreproducible. In its individuality it was the very opposite of a multiple, a fact that I took as a challenge. Its softness would make each member of the edition individual", Odenburg said.

Claes Oldenburg and Coosje van Bruggen

Inverted Collar and Tie, 1993

canvas, resin, steel, latex paint, and wood painted with polyurethane enamel

92-1/8 x 51-1/2 x 29-1/4" (234 x 130.8 x 74.3 cm)

Photography courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

克拉斯·奥登伯格/范·布鲁根

倒立的衣领与领带

帆布，树脂，钢铁，乳胶漆，聚氨酯瓷釉绘画木料

234 x 130.8 x 74.3 cm

1993

Photography courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

Indeed, one finds “an immense generosity in the work of Oldenburg and van Bruggen, not least in the invitation to play that they extend to the audience, an irresistible call to enter into the spirit of their thinking and to participate in the consumption of each piece.” The duo have exhibited their colossal monuments, sculpture, as well as various models originally created as studies for larger works; displayed in large-scale exhibitions both at home and abroad. A selection of these exhibitions include: Drawings on Site: Claes Oldenburg and Coosje van Bruggen at The Menil Collection, Houston, 2009, Claes Oldenburg and Coosje van Bruggen: The Music Room at the Whitney Museum of American Art, 2009, Claes Oldenburg and Coosje van Bruggen: Sculpture by the Way at Castello di Rivoli, Museo d’Arte Contemporanea, Turin, 2007, and Claes Oldenburg and Coosje van Bruggen on the Roof at the Metropolitan Museum of Art, 2002, among others. Their works can also be found in the permanent collections of several distinguished institutions such as the Guggenheim Museum, New York, Kunstmuseum Basel, Switzerland, Museum Ludwig, Cologne, National Gallery of Art, Washington, D.C., Tate Gallery, London, and the Centre Georges Pompidou, Paris.

Claes Oldenburg and Coosje van Bruggen

Leaning Clarinet, 2006

aluminum painted with acrylic polyurethane

358.1 x 157.5 x 81.32' 8" cm

Photography by G.R. Christmas, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen

克拉斯·奥登伯格/范·布鲁根

倾斜的单簧管

丙烯聚氨酯铝板绘画

358.1 x 157.5 x 81.32' 8" cm

2006

Photography by G.R. Christmas, courtesy Pace Gallery

© Claes Oldenburg and Coosje van Bruggen