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第1辑 September 2011/Public Art & Ecology

标题|乔玛·帕兰萨——对雕塑外形的再评估 Jaume Plensa - The Re-Evaluation of Figuration in Sculpture

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公共艺术|生态 Public Art & Ecology

作者|by Stephanie Buhmann 斯蒂芬妮·布曼

作者介绍|斯蒂芬妮·布曼是纽约的一名自由作家。她的文章以及与艺术家的访谈不断发表在《雕塑杂志》、《纸上艺术》、《艺术的谎言》、《今日切尔西》、《布鲁克林铁道》、《孔斯特简报》、《村民》等期刊以及Artcritical.com网站上——她现在任其特约编辑。

Stephanie Buhmann is a freelance writer based in New York. Her articles and interviews with artists have been published by Sculpture Magazine, Art on Paper, Artcritical.com, Art Lies, Chelsea Now, The Brooklyn Rail, Kunst Bulletin, and The Villager, among others. She is a contributing editor for Artcritical.com.

节选 Excerpt

 

Jaume Plensa: The Re-Evaluation of Figuration in
乔玛·帕兰萨:对雕塑外形的再评估 

The Work “Echo” in New York’s Madison Square Park Conservancy in Context
麦迪逊广场公园保护组织背景下的艺术作品《回声》

 

by Stephanie Buhmann
斯蒂芬妮·布曼

 

 

 

 

 

 

 

 

 

 

Artist Jaume Plensa   
Presented by Madison Square Park Conservancy.
Photo credit: James Ewing

艺术家乔玛·帕兰萨
由麦迪逊广场公园保护组织呈献。
照片版权:詹姆斯·尤因

 

 

Jaume Plensa was born in Barcelona in 1955, and lives and works there today. Over the past 25 years, Plensa has exhibited more than 30 major public art projects in countries throughout several continents. He was awarded a Chevalier des Arts et des Lettres by the French Ministry of Culture in 1993, and received an honorary doctorate in 2005 from the School of the Art Institute of Chicago, among other honors. His public art installations are particularly renowned, and include the legendary Crown Fountain (2000-5) in Chicago’s Millennium Park and Nomade (2007) commissioned by the Musée Picasso in Antibes, France. Plensa’s 2011 commission for Madison Square Park constitutes his long-awaited New York City public art debut. Plensa has exhibited to great acclaim at institutions including the Nasher Sculpture Center, Dallas; Institut Valencia d’Art Modern, Spain; the Musée Picasso, Antibes, France; the Arts Club of Chicago; Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan; Museo Reina Sofia, Madrid and Galerie National du Jeu de Paume, Paris. Plensa has been a professor and lecturer at the école Nationale des Beaux-Arts and the School of the Art Institute of Chicago.

乔玛·帕兰萨于1955年出生于巴塞罗那,并且一直在那里生活、工作至今。在过去的25年里,帕兰萨已经在世界各大洲不同的国家展示了30多个大型公共艺术作品。1993年,他被法国文化部授予艺术及文学勋章,2005年由芝加哥艺术学院授予荣誉博士学位以及其他荣誉。他的公共艺术装置尤为出名,包括芝加哥千禧公园上的具有传奇色彩的《皇冠喷泉》(2000.5)以及受法国安提布毕加索博物馆委托完成的艺术品《游牧部落》(2007)。2011年,受麦迪逊广场公园的委托,帕兰萨开始了他期待已久的首次纽约市公共艺术展。在达拉斯纳西尔雕塑中心、西班牙巴伦西亚现代艺术学院、法国安提布毕加索博物馆、芝加哥艺术俱乐部、密歇根大瀑布市弗雷德里克梅哲花园以及雕塑园、巴黎的雷纳•索菲亚博物馆、马德里以及国家影像博物馆等地,帕兰萨的作品都得到了如雷掌声。帕兰萨在国立美术学校以及芝加哥艺术学院做过教授和讲师。

 

In the course of three decades, the Spanish artist Jaume Plensa (B. 1955) has achieved something extraordinary: he has bestowed a new sense of poeticism to contemporary figurative sculpture.
In painting, the debate over figuration, whether it is momentarily “in” or “out,” swings consistently like a pendulum. In comparison, sculpture has seen too little expressive variety in the past seventy years to even raise the question. To depict the figure, especially in as traditional a material as marble (a material Plensa uses on occasion), is not only a challenge for any contemporary, but it simply is deemed unfashionable. Too strong are the references to Greek and Roman sculptures, whose inherent skill and simple elegance seem unreachable to most. Too dominant are the accomplishments of abstract sculptors, such as David Smith, Donald Judd, or Richard Serra, who have shaped post-modern aesthetics. While there certainly have been artists working in figuration, their works usually gained recognition for extremes. It takes the hyperrealism of a Ron Mueck’s or the ceaseless shock value of Maurizio Cattelan’s work, for figurative sculpture to be discussed as cutting-edge.
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        在过去的30年间,西班牙艺术家乔玛·帕兰萨(生于1955)取得了非凡的成就:他为现代象征雕塑注入了新的诗学特征。
        在绘画上,关于象征表达法的争论就像钟摆一样摇摆不定,忽而大热流行,忽而被打入冷宫。相比之下,在过去的70年里,雕塑由于很少接触到这么多的表现方式,所以根本都不存在这方面的问题。为了描述象征手法,尤其是使用像大理石(帕兰萨偶尔会使用的材料)那样的传统的材料,对每一位当代艺术家来说,不仅仅是一个挑战,而且还会被人认为落伍。希腊罗马雕塑对后世的影响太过强大,其内在的技法以及简洁的高雅对于大部分人来说都是难以企及的。而抽象艺术家比如戴维·史密斯、唐纳德·贾德、或者理查德·塞拉,他们发展了后现代主义的美术理论,其成就占绝对的统治地位。当然,也曾经出现过一些专攻象征雕塑的艺术家,但是他们的作品主要是通过极端手法来获得公众的认可。只有靠着荣恩·穆艾克的高度写实主义以及毛瑞兹奥·凯特曼的作品带来的持续不断的冲击效果,才使得象征雕塑被人认为是前卫新锐艺术。
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