Hugo Boss Prize 2006大奖得主Tacita Dean个展

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<div style="MARGIN-TOP: 10px; FONT-SIZE: 11pt; MIN-HEIGHT: 200px; TEXT-INDENT: 24px; LINE-HEIGHT: 1.6;"><img height="17" alt="图片点击可在新窗口打开查看" src="http://www.guggenheim.org/exhibitions/hugo_boss_2006/images/title.gif" width="263" style="CURSOR: pointer;"/><br/><br/><span class="style4">TACITA DEAN </span><br/>February 23–June 6, 2007 <br/><p>Throughout her oeuvre, which includes such diverse mediums as drawing, sound, found photographs, and film, Tacita Dean (b. 1965, England) has investigated our culture of obsolescence, exploring such themes as architectural relics, portraiture, history, and memory. But it is perhaps the compelling 16mm films that highlight cinematic properties for which the artist is best known. Dean has a particular relationship to the medium, for she is related to two of Great Britain\'s cinema pioneers, Basil Dean (1888–1978) and Michael Balcon (1896–1977), production heads of the celebrated Ealing Studios. Her films, which more often resemble meditative portraits of a place than narrative accounts, have explored traces of modern myths, such as sailors lost at sea; natural phenomena, including a solar eclipse and the flash of a green ray that can occur at sunrise and sunset; as well as Berlin\'s architectural relics of its formerly divided past. </p><p>On view in this exhibition are three works—<i>Kodak</i>, <i>Noir et Blanc</i>, and <i>Found Obsolescence</i> (all 2006)—that address the medium of celluloid film, a format that is becoming increasingly scarce as it is replaced by digital alternatives. Engaging a wide-spread debate, Dean describes the superior ability of film "to make as near as perfect simulacrum of our visual world, which digital still fails to replicate despite its increasing proliferation of pixels." While digital formats are becoming increasingly more sophisticated, film is still considered to capture light more accurately, achieve greater clarity and depth of field, and also better depict blacks, distinctions highlighted by the films on view here. Dean became acutely aware of the threat to her chosen medium when she was unable to obtain standard 16mm black-and-white film for her camera. Upon discovering that the Kodak factory in Chalon-sur-Sa&ocirc;ne, France, was closing its film production facility, Dean obtained permission to document the manufacture of film at the factory, where cameras have never before been invited. The resulting rear-screen projection <i>Noir et Blanc</i>, filmed on the final five rolls Dean acquired, turns the medium on itself. The 44-minute-long work <i>Kodak</i> constitutes a contemplative elegy for the approaching demise of a medium specific to Dean\'s own practice. <i>Kodak\'s</i> narrative follows the making of celluloid as it runs through several miles of machinery and explores the abandoned corners of the factory. On the day of filming, the factory also ran a test through the system with brown paper, providing a rare opportunity to see the facilities fully illuminated, without the darkness needed to prevent exposure, and underscoring the luster of the celluloid as the dull brown strips contrast with the luminous, transparent polyester. Also on view is a relic of Dean\'s visit- <i>Found Obsolescence </i>is a strip of unexposed 16mm negative found in the factory\'s sprocket machine, the holes abruptly stopping before production was completed. </p><p>Dean frequently draws viewers\' attention to overlooked or unseen aspects of her subject in all media. In 2005, she began work on a series of found postcards featuring trees, which she modified with overpainting. Following this, Dean similarly treated enlarged photographs that she had taken of monumental trees in southeastern England. <i>Majesty (portrait)</i> (2007), the fourth work on view, consists of a photograph of a noble oak tree, upon which Dean has painted over the background with white pigment, removing any excess details and leaving the subject ever so more imposing in its solemnity. </p><p>Established in 1996 to recognize significant achievements in contemporary art, the Hugo Boss Prize is a biennial award administered by the Solomon R. Guggenheim Foundation and presided over by an international jury of museum directors, curators, and critics. The prize carries with it an award of $50,000. Past winners of the prize are: Matthew Barney (1996), Douglas Gordon (1998), Marjetica Potrc (2000), Pierre Huyghe (2002), and Rirkrit Tiravanija (2004).</p></div>

[此贴子已经被作者于2007-3-10 1:40:46编辑过]

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这是tacita dean在纽约古根汉姆的个展，也是作为她去年获得Hugo Boss prize的回顾展。<br/><br/>http://www.hugoboss-prize.com/<br/><br/>这是HOGO BOSS的官方网站。<br/><br/>TACITA DEAN的作品还是好哒，我很喜欢哒。但总觉得她有时候做得那么好，有时候做得那么匪夷所思，系谱上有点混乱，要不是灵感来得太凶猛，要不是知识结构太混乱，我要好好研究一下。现帖一些作品，一起学习。<br/><br/><div align="center"><img width="663" height="400" src="http://www.newyorkartworld.com/images-reviews03/adean/DeanWashCath-580x350.jpg" alt=""/></div>
      
   
  
  <font size="2" face="Georgia, Times New Roman, Times, serif">© Tacita Dean<br/>
  <i>Washington Cathedral,</i> 2002 (detail)<br/>
  Found postcards 5-1/2 x 3-1/2" / 13.9 x 8.8 cm<br/>
  Courtesy of the artist and Marian Goodman Gallery, New York<br/><br/><br/></font>

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<br/><div id="imagecredits"><div><a href="http://www.schaulager.org/en/index.php?pfad=ausstellung/dean_alys/einleitung">Installation view at Schaulager, 2005</a><br/><a href="http://www.kultureflash.net/archive/171/TacitaDean_Ship.html">Tacita Dean</a></div></div><br/>

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<p><img width="400" height="261" border="0" src="http://sites.cca.edu/curatingarchive/TactitaDean2.jpg" alt="TactitaDean2.jpg"/></p>

<p><i>b. 1965, Canterbury, England. Based in Berlin</i></p>

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这是她签的两个画廊，发不了图，发图太恼火了，大家慢慢去看吧。<td width="13" height="25"></td>&nbsp; <td></td><td width="187" height="25" valign="top" align="left"></td><a class="td" href="http://www.mariangoodman.com/"></a><a class="td" href="http://www.frithstreetgallery.com/">• frithstreetgallery.com</a><a class="td" href="http://www.mariangoodman.com/"><br/></a><a class="td" href="http://www.mariangoodman.com/">• mariangoodman.com</a><td></td>

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<img width="239" vspace="5" height="157" alt="Tacita Dean photo" src="http://www.tate.org.uk/britain/exhibitions/tacitadean/images/tacita.jpg"/><br/>
            <p class="credit">Tacita Dean. Photo: Martin Bühler, Basel</p>
            <p class="text">Tacita Dean was born in 1965 in Canterbury, Kent. After graduating
              from Falmouth School of Art in 1988 she studied in Athens for a
              year before completing her postgraduate degree at The Slade School
              of Fine Art in London in 1992. She has had many solo exhibitions,
              including Witte de With Center for Contemporary Art, Rotterdam (1997);
              ICA, Philadelphia, with US tour (1998); Museum für Gegenwartskunst,
              Basel (2000), <a href="http://www.macba.es/">MACBA, Barcelona</a>
              (2001). She has participated in numerous group exhibitions and in
              1998 was shortlisted for the Turner Prize. Tacita Dean is currently
              on the Berliner Künstlerprogramm/DAAD residency in Berlin.</p>

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继续发现，Tacita Dean也曾在98年的特纳奖名单里出现，同时还有山姆。泰勒，伍德。但最终获奖的是现在国际艺坛涌现的“新绘画”领军人物克瑞斯。欧费力（Chris Ofili ）<br/>另外，tacita dean 和olafur elliasson同时参与了 magrin3画廊在里昂双年展期间策划的展览，这个展览也是现在回顾20世纪重要展览的一个结节点，同时参与的有andy whrol,yoko ono等艺术家（这个展览，我找十届帖个专题出来,hen NB一个展览）。<br/>同时参加过第五十届威尼斯双年展。<br/>一路搜下来，已经发现Tacita Dean现在也是参加了世界上几乎所有的大展。<br/>当然，她也是YBA的艺术家之一，但我几乎没发现她和YBA艺术家有什么联系，作品还是有点渗透性，但似乎没一起做过展览，也没什么挂钩啊~~~~我继续找，继续搜。<br/>

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OK,最后确认她算是第二批的YBA艺术家，和tracy emin一类的，丙类YBA（不是贬义，稍微分类一下）<br/>