“以身體之，以心驗(yàn)之”

藝術(shù)作為一種生命存在的體驗(yàn)方式

展現(xiàn)了藝術(shù)家對(duì)于內(nèi)在生命的感悟

以及生命的豐富內(nèi)涵和形式

「名家書(shū)薦」第八期，我們邀請(qǐng)到了

來(lái)自荷蘭的首飾藝術(shù)家Ela Bauer

為大家推薦一本關(guān)于探尋生命本質(zhì)的作品集

身在荷蘭的Ela，心系著遠(yuǎn)方的我們

您是否能感受到

藝術(shù)家想要傳遞的信息？

藝術(shù)家 / Artist

 Ela Bauer 

世界聞名的荷蘭當(dāng)代首飾大師Ela Bauer，生于波蘭成長(zhǎng)于以色列，現(xiàn)居住及工作于阿姆斯特丹。Ela常來(lái)往于世界各地參加學(xué)術(shù)活動(dòng)及展出，參與過(guò)的當(dāng)代首飾個(gè)展及聯(lián)展不計(jì)其數(shù)，其作品被許多私人藏家及知名美術(shù)館收藏，包括美國(guó)紐約Museum of Art and Design，德國(guó)萊比錫Grassi Museum，德國(guó)慕尼黑Pinakothek der Moderne, Dänner Collection等。

Born in Poland, Ela Bauer is a world-renowned Dutch contemporary jewellery artist who grew up in Israel.  She currently lives and works in Amsterdam, while constantly travelling around the world, participating in academic and art events.  Ela took part in many international individual and collective exhibitions. Her work is included in museums’ collections: Museum of Art and Design, NY, USA, Grassi Museum, Leipzig, Germany, Pinakothek der Moderne, Dänner Collection, Munich, Germany, etc and in private collections. 

藝術(shù)家推薦書(shū)籍

Recommended Book

Giuseppe Penone: Forty Years of Creation

《Giuseppe Penone：四十年的創(chuàng)作》

Author: Laurent Busine

Hardcover: 408 pages

E：Giuseppe Penone是一位意大利雕塑家，他的作品涉獵領(lǐng)域廣泛，包括雕塑、演出、畫(huà)作及攝影。Penone的作品通常以樹(shù)作為主體，并對(duì)于其生命形態(tài)以及對(duì)生命的隱喻提出探討。結(jié)合歷史、科學(xué)和詩(shī)意的手法，這本書(shū)圍繞Penone作品中的七個(gè)關(guān)鍵主題展開(kāi)：呼吸，眼睛，皮膚，心臟，血液，記憶和言語(yǔ)。

E: Giuseppe Penone is an Italian sculptor, he created an expansive body of work including sculpture, performance, works on paper, and photography. The subject of his work is The Tree as a life- form and as metaphor for life in general. Combining historical, scientific, and poetic approaches, this volume is structured around seven key themes in Penone's work: breath, eyes, skin, heart, blood, memory, and speech.

 E：Giuseppe Penone用各種各樣的材料和形式來(lái)探索雕塑的基本語(yǔ)言。他探討了關(guān)于身體的非自主性機(jī)能，例如呼吸、生長(zhǎng)、老化等等。我很喜愛(ài)他喻示了樹(shù)體結(jié)構(gòu)中的“波動(dòng)”，以及不同生命形式之間的聯(lián)系；人類(lèi)、動(dòng)物和樹(shù)木，以及那些顯然非生命的個(gè)體，例如巖石或土地。

E: Giuseppe Penone has employed a wide range of materials and forms in an exploration of the fundamental language of sculpture. He explores respiration, growth, and aging—among other involuntary processes. I love the way Penone exposes the “waves” in the tree-structure, and the connection between the different life-forms; humans, other animals and trees and that which apparently does not live, like a stone or the earth.  

Penone的作品是身體記憶的物化。這也印證了他的信念：我們就像巖石、樹(shù)木和水一樣，不斷地塑造和影響環(huán)境，也受到環(huán)境的塑造和影響。我們的姿態(tài)反映了樹(shù)木的扭曲和伸展，其中包含了樹(shù)木里同心圓對(duì)時(shí)間的記錄。

Penone’s works were bodily memories, materialized. They spoke to his belief that we, like rocks, trees, and water, were constantly molding, and being molded by, our environments. Our gestures mirrored the twisting and stretching of trees, which contained concentric records of time in their wood.

在新雕塑《等效》中，Penone用石膏模型制作了樹(shù)木的部分，然后用青銅澆鑄，并逐塊豎立起了一棵人造樹(shù)。從根部出現(xiàn)了一種擬人化的樹(shù)皮螺旋，成為了一個(gè)形象，面對(duì)著它的植物對(duì)應(yīng)物。Penone認(rèn)為這種融合是gesti vegetali（植物般的手勢(shì)）。在他的手中，人體從樹(shù)中解放出來(lái)，而樹(shù)又揭示了人體的內(nèi)在特質(zhì)。利用雕塑的媒介和技術(shù)，他釋放了萬(wàn)物的生命，從而將自然的本質(zhì)與人類(lèi)行為的感覺(jué)結(jié)合了起來(lái)。

For a new sculpture, Equivalenze, Penone made plaster molds of tree parts and casted them in bronze, erecting an artificial tree, piece by piece. From the roots, an anthropomorphic helix of bark emerged, becoming a figure in contrapposto, facing its botanical counterpart.  Penone thought of such convergences as gesti vegetali (plantlike gestures). In his hands, the human form was freed from the tree, and the tree, in turn, revealed the visceral qualities of the human body. Using sculptural media and techniques, he released the animas of things, thus uniting the essence of nature with the sensations of direct human action.

Equivalenze (2016)

“ 

The veins of water that pour from the earth flow in trickles that merge, like the branches in the trunk, like the fingers in the palm of a hand, like the bronze in the matrix of a tree.

水的支脈從地表涌出、聚流，如同樹(shù)干上的枝，如同手掌上的指，如同流過(guò)樹(shù)體結(jié)構(gòu)的青銅。

”

—— Giuseppe Penone

藝術(shù)家與自然融為一體

以人工的方式重新構(gòu)想自然

標(biāo)記出生命的恒久

揭示出生長(zhǎng)和時(shí)間的深層格局

Ela Bauer在她的作品里

也探索了生物變化的過(guò)程

她在豐富而悅動(dòng)的色彩中

發(fā)現(xiàn)了不一樣的生命形式之美

讓我們一起欣賞一下她的作品吧

作品介紹 / Works

Ela經(jīng)常使用的材質(zhì) – 各種樹(shù)脂和硅膠 – 令她創(chuàng)造出了無(wú)限的色彩。在Ela的作品中，色彩總是至關(guān)重要的角色。在試圖詮釋之前，人們首先感知到的常常是色彩，Ela認(rèn)為，色彩是情緒與氛圍的有力載體。

The materials Ela often work with - different sorts of resin and silicone - enable her to create infinite color. Color has always played a crucial role in her work. As color is often the first given you perceive, experience before interpreting, it is a powerful vehicle of moods and atmospheres. 

Coloring

 resin

 

Untitled, 2018

silicone, resins, pigments

 

 

Color Tales, 2018

silicone, resins, pigments

在創(chuàng)作基礎(chǔ)上，Ela對(duì)現(xiàn)實(shí)的理解得以加深。創(chuàng)作過(guò)程中，在行為、材料、形態(tài)和色彩所形成的一片混沌里，焦點(diǎn)逐漸浮現(xiàn)。它起初是模糊而難以界定的，但隨著工作的進(jìn)展，焦點(diǎn)開(kāi)始變得清晰。有時(shí)在過(guò)程中各種元素都會(huì)“各自歸位”，這讓Ela感覺(jué)仿佛一個(gè)微型的現(xiàn)實(shí)映射了大環(huán)境。

Ela’s work is the ground on which her understanding of reality deepens. During the working process, out of the chaos of actions, materials, forms and colors, a focus emerges; vague and undefined at first but as the working-process proceeds the focus becomes sharper and clearer. Sometimes during work, when elements ‘fall into their place’ Ela gets a feeling of the small reality reflecting the big one. 

Antenna , 2018

silicone, resins, pigments

Colour Worn, 2012

resins, pigments, cotton

多年來(lái)Ela探索了許多不同的主題，比如：發(fā)展——成長(zhǎng)和衰敗間的關(guān)系。是否有一個(gè)由成長(zhǎng)轉(zhuǎn)向衰敗的瞬間？又或者，是否成長(zhǎng)本身就承載著衰?。?hellip;…

有機(jī)的、細(xì)胞狀、樹(shù)狀的形態(tài)表達(dá)了Ela對(duì)不斷變化的萬(wàn)物的關(guān)注。生物體的變化過(guò)程——在她看來(lái)，成長(zhǎng)、發(fā)展和崩析正是這種感受的終極隱喻。

Through the years Ela focused on different subjects, such as: Development; the relation between growth and deterioration. Is there a moment when growth turns to deterioration? Or, is deterioration inherent in growth? ……

The organic, cell and tree-like forms, express her preoccupation with the fact that everything is in continuous process of change. The processes of change in the organisms; growth, development, and disintegration, are in her view the ultimate metaphors for this feeling.

Cells, 2005

silicone, pigments

 

 

Untitled, 2009

cotton, copper-net

 

 

Cells, 2005

silicone, pigments

 

“ 

Mostly one gives color to form. 

I give form to color.

人們將色彩賦予形體。

我將形體賦予色彩。

”

—— Ela Bauer

往期圖書(shū)推薦：

名家書(shū)薦 Karin van Paassen | 

追溯民族首飾的古老傳說(shuō)

名家書(shū)薦 Masahiro Nakata | 

走進(jìn)結(jié)構(gòu)與空間的幾何世界

名家書(shū)薦 Xiaochen Liu | 

胸針背后的各種可能

名家書(shū)薦 Elena Martinelli | 

領(lǐng)略首飾背后的工藝魅力

名家書(shū)薦 Ziyi Yang | 

從審美意識(shí)探究東方美學(xué)之魂

名家書(shū)薦 Bin Dixon-Ward | 

運(yùn)用之妙，存乎一心

名家書(shū)薦 Chun Cheng | 

藝術(shù)的過(guò)去，首飾的未來(lái)

新春專(zhuān)欄名家書(shū)薦

在這一期圓滿(mǎn)落下帷幕

This concludes the 

book recommendation from artists 

series for Chinese New Year 2020.

This has been an unexpected

New Year Holiday.

There was fear, 

and there was hope.

No matter where you are,

thank you for being there with us.

We will get through this, 

together.

無(wú)論何時(shí)何地

相信書(shū)籍與藝術(shù)的力量

將會(huì)一直陪伴著你走下去

愿你永遠(yuǎn)好奇

永遠(yuǎn)熱愛(ài)