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变形术:跨界建筑师,艺术家芭芭拉·卡斯滕(Barbara Kasten)的全新作品
Shape shifter: artist Barbara Kasten dons an architect’s cap in a new body of work

由专筑网丁思源,韩平编译

虽然快接近80岁,但是芭芭拉·卡斯滕(Barbara Kasten)仍然身体矍铄,创作不息。本周五这位美国艺术家在纽约的博尔托拉米美术馆举办了一次展览。这次展览展示了三件大尺度的雕塑+摄影混合体作品。最近的这些作品沿袭了她独立雕塑以及上世纪七十年代名为“复合词”的作品风格。

She might be entering her eighth decade, but Barbara Kasten is still going strong. On Friday the American artist opens an exhibition at New York’s Bortolami gallery, showcasing three new bodies of large-scale sculpture-photo hybrids she’s been working on of late, that relate to her freestanding sculptures and Amalgams of the 1970s.

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和以往一样,建筑学在Kasten的心中一直被视为艺术。这次展览的题目“偏见”也暗指了在建筑师设计背后的一个司空见惯的术语。它通常被人称为“分析图”。Kasten的偏见在这里可能已经“嫁接”了不同的维度,但是作为艺术学而非建筑学的作品,它完全留有开放解释的余地。

As ever, architecture is at the heart of Kasten’s thinking as an artist. The show’s title, ‘Parti Pris’, refers to the common term for the big idea behind an architect’s design, usually presented as a diagram. Kasten’s parti pris here might have been ‘bridging dimensions’, but this being art, not architecture, it’s all left open to interpretation.

想转行?看看80高龄的她!第3张图片

在博尔托拉米美术馆,你将能看到不少空间的游戏;在“碰撞”中,一系列自2016年开始的宏伟的,颜色艳丽的亚克力碎片摄影作品和一些新的附件一起在“偏见”中被展示,三维的结构是一种介于可感知又扁平化之间的模糊状态、Kasten的作品是一个充满矛盾的谜语游戏,何谓表面,何谓图像?什么是的确存在的,什么又不是?她的艺术作品有着自身定义的维度。

What you will see at Bortolami is plenty of dimensional play: in Collisions, a series of grand, colour-rich Fujiflex photographs of acrylic fragments started in 2016, with new additions presented at ‘Parti Pris’, 3D structures are perceived but flattened – an ambiguous space in between. Kasten’s works are a constant guessing game – what is surface, and what is image? What was really there, and what wasn’t? Her artworks have a dimension of their own.

想转行?看看80高龄的她!第4张图片

同时,在“进程”中,二维的编排突出并且进入了空间。颠覆了她在上世纪七十年代晚期的“复合词”作品中表达的内容(透明物体的影像被转译为一个充满了影像,绘画,摄影的二维世界),她将扁平的表现拉回到了能在美术馆内投射阴影的抽象形体。Kasten将之称为“临时摄影术”。它的几何性是最让人着迷的。

展览的最后却也是最精彩的是“平行”,一个巨大的在Kasten最爱的半透明荧光板内悬臂构成的雕塑。在某些过渡的时节,Kasten的作品真正走向了自主。它们随着光线同步地变形,并且随着它开始改变外界,我们对空间的感知和我们所处的位置也随之变化。

Meanwhile, in Progressions, 2D arrangements protrude out and enter space. Reversing her Amalgams of the late 1970s, (photograms of transparent objects translated into a two dimensional suffusion of photograms, drawing and photograph) she turns the flat representations back into abstract shapes that cast shadows over the gallery. Kasten calls them ‘temporary photograms’. This is geometry as its most mesmerising.
The show-stopper, though, is Parallels, a vast sculpture of cantilevered components, in Kasten’s favoured translucent fluorescent palette. It’s really in these transitional seasons that Kasten’s work comes into its own, shifting in sync with the light as it starts to change outside – and with it, our perception of space and where we are within it.


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