Tags
annish kapoor, contemporary art, 艺术, 英国, 西方, modern art, when i am pregnant
When I am Pregnant, 1992
由于我实在太喜欢这件作品,不得不为它单辟一篇。
以下from:http://realitybitesartblog.blogspot.com/2011/04/bite-100-anish-kapoor-when-i-am.html
“The idea that if I empty out all the content and just make something that is an empty form, I don’t empty out the content at all. The content is there in a way that is more surprising than if I tried to make a content.” – Anish Kapoor如果我空出所有的内容并做一个空空的形式,我没有空出内容。在一定程度上一个内容就在那儿要比我试图做一个内容还要有惊喜。
An all-encompassing art experience, the work has no beginning and no end – it is nothing and it is the entire wall, the entire room (All of this and nothing). Altering the viewers perception of the space, it is a radical inversion of the ‘art object’; art as absence, void. Pure concept actualised in being viewed.
This is art that to be strictly ‘understood’ is to miss the point entirely.
一个包罗万象的艺术体验,工作没有开始也没有结束 – 它只不过是整个墙面,整个房间(All of this and nothing)。改变观众空间的感知,它是对于“艺术品”的一个激进的颠倒;艺术如同缺席,虚空。纯粹的概念在被观览中被实行。
这是一个要被严格“理解”时将完全错过整个重点的艺术。\
Walk around the silent swelling of When I am Pregnant. Trace the shape as it grows obliquely out of the wall and then suddenly when you stand in front of it, face to face, it is there no longer; only a luminous aureole remains to return you to the memory of fullness, as the wall turns transparent, from white to light. The monumental and noumenal address of Kapoor’s work should not obscure these uncanny experiences which suggest that his vast tolerance of empty space expands the space available into another ongoing disruption of ‘time’.[1]
在When I am Pregnant沉默的肿胀周围走动。跟踪那个形状随着它的倾斜的增长出墙,然后突然当你站在它的面前,面对面时,它不再存在了;只有一个明亮的的光环留下使你返回那丰满的记忆,就像墙变了透明,从白色变成光。卡普尔的作品的纪念性的和实体的的演讲说话技巧不应该使难理解这些神秘的的经验,这些启发他的空的空间广阔的宽容延伸扩大到另一个的可用空间的“时间”的持续中断。
[1]The True Sign of Emptiness, Anish Kapoor: Making Emptiness by Homi K. Bhabha