论文部分内容阅读
2011年末2012年初,纽约古根汉姆美术馆举办了生活在纽约的意大利艺术家莫瑞吉奥·卡特兰(Maurizio Cattelan)的回顾展:《所有的》(All)。古根汉姆在新闻通稿中称这次展览为该馆有史以来“最为大胆的”一个展览;纽约地铁里的宣传画上赫然是艺术家本人的蜡像如上吊自尽般悬挂在一个不锈钢架上——雕塑作品《我们的革命》(La Rivoluzione siamo noi,2000)。这似乎与艺术家本人声称这一展览是他的“最后致意”相吻合;今年只有51岁,备受美术馆和策展人青睐的卡特兰对媒体表示,在这次展览之后,他将逐渐进入退休状态;这个年纪在艺术界,尤其是艺术大腕当中还正当年。不知道是否如外界所传——卡特兰近年的作品水准参差不齐,已经江郎才尽,因而萌生退意。当然,鉴于卡特兰一贯对于媒体的戏弄态度,人们也很难搞清楚这一次他是玩笑还是认真。纽约艺术批评界对这次展览的评价也趋于两极。
At the end of 2011, in early 2012, the Guggenheim Museum in New York hosted a retrospective exhibition by Maurizio Cattelan, an artist based in New York: “All”. Guggenheim said in the press release that the exhibition is the “darkest” exhibition in the history of the museum; the posters in the New York subway are apparently the artist’s own wax figure hanging himself in a stainless steel frame Upper - Sculpture “Our Revolution” (La Rivoluzione siamo noi, 2000). This seems to coincide with the artist’s own claim that the exhibition is his “final compliment.” Cattleland, 51, a year-old art museum and curator of choice, told the press that following this exhibition he will Gradually into the retirement state; this age in the art world, especially the art of the biggest names in the middle of the year. Do not know if it is as the outside world - Cattlelan works in recent years, uneven levels have been done, and therefore retreat. Of course, given Cattle’s constant teasing of the media, it is hard to figure out whether he was joking or serious this time. New York art criticism of the exhibition also tended to be bipolar.