Tacita Dean 塔西塔.蒂恩Tacita Dean 塔西塔.蒂恩Tacita Dean 塔西塔.蒂恩
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最后更新：2007/03/20 08:45:49 by
Tacita Dean
塔西塔.蒂恩
[attachment=38024]
Tacita Dean 最初是绘画专业出身，目前她的作品涉及很多媒介。她最有名的是她的16mm 的影片，制作影片的特殊性质是她作品的重点。Dean 的影片主要关注建筑的遗迹，这些遗迹体现出的是一种过时或已丧失的信仰，但也许在它们以前的那个时代是信守承诺的。除了他们形式上的性质，她的影片也涉及了其他的艺术形式，尤其是油画。Dean 的创作也涉及录像，声音，绘画和物品。她的创作领域涵盖了现实和虚拟。这种难以捉摸的感觉偏布了整个作品，一种想要寻找也许在幻觉中或各个地方都存在的感觉。
塔西塔.蒂恩
[attachment=38024]
Tacita Dean 最初是绘画专业出身，目前她的作品涉及很多媒介。她最有名的是她的16mm 的影片，制作影片的特殊性质是她作品的重点。Dean 的影片主要关注建筑的遗迹，这些遗迹体现出的是一种过时或已丧失的信仰，但也许在它们以前的那个时代是信守承诺的。除了他们形式上的性质，她的影片也涉及了其他的艺术形式，尤其是油画。Dean 的创作也涉及录像，声音，绘画和物品。她的创作领域涵盖了现实和虚拟。这种难以捉摸的感觉偏布了整个作品，一种想要寻找也许在幻觉中或各个地方都存在的感觉。
Study for Crowhurst
2006
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Gouache on fibre based photograph
40 x 46.5 cm
2006
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Gouache on fibre based photograph
40 x 46.5 cm
Kodak
2006
[attachment=38026]
16mm colour, optical sound
Edition of 4
44 Minutes
2006
[attachment=38026]
16mm colour, optical sound
Edition of 4
44 Minutes
The Uncles
2004
[attachment=38027]
16mm colour anamorphic, optical sound
Edition of 4
77 Minutes
2004
[attachment=38027]
16mm colour anamorphic, optical sound
Edition of 4
77 Minutes
Boots
2003
[attachment=38028]
[attachment=38029]
3 films (English version; French version; German version)
Each film: 16mm colour anamorphic, optical sound 20 mins
Edition of 4
2003
[attachment=38028]
[attachment=38029]
3 films (English version; French version; German version)
Each film: 16mm colour anamorphic, optical sound 20 mins
Edition of 4
Pie
2003
[attachment=38030]
[attachment=38031]
16mm colour film, optical sound 7 mins
Edition of 4
2003
[attachment=38030]
[attachment=38031]
16mm colour film, optical sound 7 mins
Edition of 4
Czech Photos
1991/2002
[attachment=38032]
[attachment=38033]
326 black & white photographs
Edition of 6
Photographs Detail
1991/2002
[attachment=38032]
[attachment=38033]
326 black & white photographs
Edition of 6
Photographs Detail
'Mario Merz'
2002
[attachment=38034]
16 mm film, colour, optical sound
8 1/2 mins, edition of 4
2002
[attachment=38034]
16 mm film, colour, optical sound
8 1/2 mins, edition of 4
'The Russian Ending'
2002
[attachment=38035]
[attachment=38045]
Portfolio of 20 etchings in photogravure
54 x 79.4cm each, unframed size
2002
[attachment=38035]
[attachment=38045]
Portfolio of 20 etchings in photogravure
54 x 79.4cm each, unframed size
'The Green Ray'
2001
[attachment=38036]
[attachment=38134]
16mm colour, mute,
2 minutes 30 seconds
2001
[attachment=38036]
[attachment=38134]
16mm colour, mute,
2 minutes 30 seconds
'Section Cinema'
2002
[attachment=38037]
16 mm film, colour with optical sound
13 minutes, continuous loop
2002
[attachment=38037]
16 mm film, colour with optical sound
13 minutes, continuous loop
'BAOBAB III'
2001
[attachment=38038]
black & white photograph on fibre paper
70 x 105 cm
Series of 6 photographs
2001
[attachment=38038]
black & white photograph on fibre paper
70 x 105 cm
Series of 6 photographs
'Fernsehturm'
2001
[attachment=38039]
[attachment=38051]
16mm anamorphic,
optical sound
43 minutes
2001
[attachment=38039]
[attachment=38051]
16mm anamorphic,
optical sound
43 minutes
'Bubble House (Exterior)'
1999
[attachment=38040]
R-type photograph
99 x 147.5cm
1999
[attachment=38040]
R-type photograph
99 x 147.5cm
'Teignmouth Electron, Cayman Brac'
1999
[attachment=38041]
Colour Photograph
68 x 89cm / 112 x 130cm
1999
[attachment=38041]
Colour Photograph
68 x 89cm / 112 x 130cm
''FLOH' Ice rink'
2000
[attachment=38042]
Digital Epsom print
86 x 115 cm
2000
[attachment=38042]
Digital Epsom print
86 x 115 cm
'Sound Mirrors'
1999
[attachment=38043]
16mm
black and white, optical sound
7 mins
1999
[attachment=38043]
16mm
black and white, optical sound
7 mins
Installation view, 2005
[attachment=38044]
[attachment=38044]
Disappearance at Sea
(Cinemascope)
[attachment=38046]
[attachment=38047]
[attachment=38048]
film stills, 1996
Sixteen milllimeter anamorphic color film, optical sound, fourteen minutes
Courtesy of Frith Street Gallery, London, and Marian Goodman Gallery, New York
(Cinemascope)
[attachment=38046]
[attachment=38047]
[attachment=38048]
film stills, 1996
Sixteen milllimeter anamorphic color film, optical sound, fourteen minutes
Courtesy of Frith Street Gallery, London, and Marian Goodman Gallery, New York
Washington Cathedral
2002 (detail)
[attachment=38049]
Found postcards 5-1/2 x 3-1/2" / 13.9 x 8.8 cm
Courtesy of the artist and Marian Goodman Gallery, New York
2002 (detail)
[attachment=38049]
Found postcards 5-1/2 x 3-1/2" / 13.9 x 8.8 cm
Courtesy of the artist and Marian Goodman Gallery, New York
Section Cinema
2002
[attachment=38050]
16mm film, colour with optical sound, 13 minutes
Courtesy of the artist and Marian Goodman Gallery, New York
2002
[attachment=38050]
16mm film, colour with optical sound, 13 minutes
Courtesy of the artist and Marian Goodman Gallery, New York
Disappearance at Sea
Aerial View of Teignmouth Electron, Cayman Brac. 16th September 1998
2000
Photographs
MATERIALS: Black & White photograph
[attachment=38103]
In 1996 Tacita Dean began a series of art works collectively entitled Disappearance at Sea, all inspired by remarkable stories of personal encounters with the sea. A key figure in these works is Donald Crowhurst, a competitor in the 1968 Sunday Times Golden Globe Single-Handed Round-the-World Yacht Race. Within a few weeks of departing, Crowhurst realised that his boat, the Teignmouth Electron, was not up to sailing around the world. Rather than returning home, he began to issue false reports of his progress and position until he could bear the deceit no longer and retreated into an internal world, developing an obsession with time and his faulty chronometer. Two weeks before Crowhurst was due home to a hero’s welcome, Teignmouth Electron was found adrift and empty.
For many, Donald Crowhurst is just a cheat who abused the sacred unwrittens of good sportsmanship. But for some, it is more complicated than this and he is seen as much a victim of the Golden Globe as the pursuer of it. His story is about human failing, about pitching his sanity against the sea, where there is no human presence or support system on which to hang a tortured psychological state. His was a world of acute solitude, filled with the ramblings of a troubled mind.
Tacita Dean, 1997
Tacita Dean has created a number of works that respond to this story. A carving has been made in the wooden handrail of the balustrade around the Upper Deck of Neptune Court in the National Maritime Museum. The text: IT IS THE MERCY, is a phrase taken from one of the last entries in Crowhurt’s log-book. It is both ambiguous and unusual: it reminds us that any sailor or passenger who sets out to cross the sea, crosses it at its mercy.
The film, Disappearance at Sea I, is Dean’s first work referring to the story of Donald Crowhurst. This hypnotic film, made in anamorphic (wide-angle) format was created almost entirely on location at St Abb's lighthouse and focuses on the turning mirrors, prisms and filaments of the lighthouse optic. It is filmed at the moment when day becomes night, exploring the quality and movement of both artificial and natural light as the lamp lights and the sun sets. Filmed almost entirely within the safety of the lighthouse, the ghostly images of Crowhurst and Bas Jan Ader – both lost at sea – become symbolic of its unpredictability and dangers.
Continuing her investigation Dean travelled to Cayman Brac, a small island in the Caribbean where Crowhurst’s trimaran, the Teignmouth Electron, lies beached. It has been abandoned there for over 20 years after having been refitted as a tourist boat. The NMM commissioned Dean to photograph the vessel, which remains a sad yet still majestic reminder of these events.
[attachment=38104]
'Teignmouth Electron', Cayman Brac, 1999 (left)
Colour photographs
[attachment=38105]
It is the Mercy, 1999 (right)
Carving in handrail around the Upper Deck
Aerial View of Teignmouth Electron, Cayman Brac. 16th September 1998
2000
Photographs
MATERIALS: Black & White photograph
[attachment=38103]
In 1996 Tacita Dean began a series of art works collectively entitled Disappearance at Sea, all inspired by remarkable stories of personal encounters with the sea. A key figure in these works is Donald Crowhurst, a competitor in the 1968 Sunday Times Golden Globe Single-Handed Round-the-World Yacht Race. Within a few weeks of departing, Crowhurst realised that his boat, the Teignmouth Electron, was not up to sailing around the world. Rather than returning home, he began to issue false reports of his progress and position until he could bear the deceit no longer and retreated into an internal world, developing an obsession with time and his faulty chronometer. Two weeks before Crowhurst was due home to a hero’s welcome, Teignmouth Electron was found adrift and empty.
For many, Donald Crowhurst is just a cheat who abused the sacred unwrittens of good sportsmanship. But for some, it is more complicated than this and he is seen as much a victim of the Golden Globe as the pursuer of it. His story is about human failing, about pitching his sanity against the sea, where there is no human presence or support system on which to hang a tortured psychological state. His was a world of acute solitude, filled with the ramblings of a troubled mind.
Tacita Dean, 1997
Tacita Dean has created a number of works that respond to this story. A carving has been made in the wooden handrail of the balustrade around the Upper Deck of Neptune Court in the National Maritime Museum. The text: IT IS THE MERCY, is a phrase taken from one of the last entries in Crowhurt’s log-book. It is both ambiguous and unusual: it reminds us that any sailor or passenger who sets out to cross the sea, crosses it at its mercy.
The film, Disappearance at Sea I, is Dean’s first work referring to the story of Donald Crowhurst. This hypnotic film, made in anamorphic (wide-angle) format was created almost entirely on location at St Abb's lighthouse and focuses on the turning mirrors, prisms and filaments of the lighthouse optic. It is filmed at the moment when day becomes night, exploring the quality and movement of both artificial and natural light as the lamp lights and the sun sets. Filmed almost entirely within the safety of the lighthouse, the ghostly images of Crowhurst and Bas Jan Ader – both lost at sea – become symbolic of its unpredictability and dangers.
Continuing her investigation Dean travelled to Cayman Brac, a small island in the Caribbean where Crowhurst’s trimaran, the Teignmouth Electron, lies beached. It has been abandoned there for over 20 years after having been refitted as a tourist boat. The NMM commissioned Dean to photograph the vessel, which remains a sad yet still majestic reminder of these events.
[attachment=38104]
'Teignmouth Electron', Cayman Brac, 1999 (left)
Colour photographs
[attachment=38105]
It is the Mercy, 1999 (right)
Carving in handrail around the Upper Deck
Palast VI
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38106]
Palast V
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38107]
Palast III
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38108]
Palast II
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38109]
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38106]
Palast V
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38107]
Palast III
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38108]
Palast II
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38109]
Palast I
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38110]
Palast IV
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38111]
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38110]
Palast IV
2005
Photographs
Color photo engraving
Paper: Somerset 300gr
[attachment=38111]
Blind Pan
2004
Prints
Photogravure
Paper: Hahnem黨le B黷ten 350gr.
[attachment=38112]
[attachment=38113]
[attachment=38114]
2004
Prints
Photogravure
Paper: Hahnem黨le B黷ten 350gr.
[attachment=38112]
[attachment=38113]
[attachment=38114]
Ein Sklave des Kapitals
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38115]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38115]
Beautiful Sheffield
2001
Photographs
h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38116]
2001
Photographs
h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38116]
Die Explosion in dem Kanal
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38117]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38117]
The Tragedy of Hughesovka Bridge
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38118]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38118]
Vesuvio
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38119]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38119]
The Life and Death of St. Bruno
2001
CATEGORY: Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38120]
2001
CATEGORY: Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38120]
So They Sank Her!
2001
CATEGORY: Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38121]
2001
CATEGORY: Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38121]
The Story of Minke the Whale
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38122]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38122]
The Wreck of Worthing Pier
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38123]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38123]
Zur Letzten Ruhe
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38124]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38124]
Der R點kzug nach Verdun
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38125]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38125]
G鰐terd鋗merung
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38126]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38126]
La Bataille d'Arras
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38127]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38127]
Death of a Priest
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38128]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38128]
The Sinking of the SS Plympton
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38129]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38129]
Erinnerung aus dem Weltkrieg
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38130]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38130]
The Wrecking of the Ngahere
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38131]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38131]
The Crimea
2001
CATEGORY: Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38132]
2001
CATEGORY: Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38132]
Ship of Death
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38133]
2001
Photographs
SIZE: h: 21.2 x w: 31.2 in / h: 53.8 x w: 79.2 cm
[attachment=38133]
Tacita Dean,
Disinformation "Blackout" Sound Mirrors
Disinformation "Blackout" Sound Mirrors
