阿尔弗雷多·贾尔-人物-轻识

简介

阿尔弗雷多·贾尔（AlfredoJaar），是智利出生的艺术家，建筑师，摄影师和制片人，现住在纽约市。他最有名的职业是装置艺术家，经常结合摄影并报道社会政治问题和战争，最著名的也许是有关1994年卢旺达大屠杀的长达6年的卢旺达项目。他还进行了许多公共干预工作，例如瑞典的SkoghallKonsthall一日制纸博物馆，早期的电子广告牌干预ALogoForAmerica，还有TheCloud，这是墨西哥和美国边界两侧的表演项目。他曾在Art：21上获奖。他获得了2020年的哈苏奖。他是音乐家和作曲家NicolasJaar的父亲。

影视作品

寂静的声音

Installationmeasuring170x180x360inches(431.8x457.2x914.4cm),withsoftwaredesignbyRaviRajan.ExcerptfromGalerieLelong'spressrelease:"Anenclosedaluminumstructurethatcompelstheviewertoenter,TheSoundofSilencephysicallyengagestoboldlydeliveritsmessage.Alightatthedoorsignalswhenpeoplearepermittedtoenterthespace,alternatingbetweenredandgreen.Onceinsidethestructure,an8-minutefilmpresentstheviewerwithasilentnarrativethatslowlyunfoldsasomberanddevastatingreal-lifestory.WithTheSoundofSilence,AlfredoJaarusesremarkableforce,grace,andeconomytohighlightacomplexsetofethicalandpersonalquestionsabouttheactoflookingandtheresponsibilitiesthatfollow."

早上的黄金（A - J）

"SerraPeladaisanopencastmine,aprodigiouspitdugbyhumanhands,theresultofamassiveinfluxofself-employedminerstoaremotepartofnortheasternBrazil.(...)In1985ChileanartistAlfredoJaartraveledtoSerraPelada,andoverthecourseofweeks,hedocumentedtheseminersandtheirbackbreakingworkinthemammothcrater.Itwasonthesebare,muddy,terracedslopesthatJaarphotographedandfilmedwhatwastobecomeGoldintheMorning,(...)Jaar’sfirstmajorsoloshowinSouthAfrica.TheserieswasfirstexhibitedattheVeniceBiennalein1986andsubsequentlyatmuseumsaroundtheworld,includingtheWhitechapelinLondonandtheCentrePompidouinParis."(GoodmanGalleryJohannesburg)

美国的标志

CommissionedbythePublicArtFundasapartoftheMessagestothePublicprogram,ALogoforAmericawasa42-secondanimationwhichappearedonanelectronicbillboardinNewYorkCity’sTimesSquareoverthecourseoftwoweeks.TheworkaddressestheissueoftheUnitedStates'ethnocentrictendencytoappropriatetheidentityoftheentirecontinent.

在生活中寻找非洲

卢旺达项目：古特特·埃梅里塔的眼睛

Theinstallationiscomposedofalighttable,magnifiers,100,000piledslidesreproducingaphotoofGuteteEmerita,a30yearsoldmemberoftheTutsiminorityinRwandawhosefamilywaskilledwithmachetesinfrontofherveryeyes(duringtheNtamaraChurchmassacrein1994),andanilluminatedwalltextfeaturingthenarration."Irememberhereyes.TheeyesofGuteteEmerita."—AlfredoJaar

1+1+1

"Commissionedfor"Documenta8",heldinKassel,Germany,in1987,1+1+1respondstothecontextofthismajorinternationalexhibition,longdominatedbyaEuropeanperspective.(...)1+1+1equatestheaestheticizationofpovertywithexploitation.TheinstallationincludesoneofJaar'sfirstmatureusesofthephotographiclightbox-aglassandmetalstructuresupportingaphotographictransparencyback-litbyfluorescenttubes-whichhasbecomehissignaturemethodofpresentation.Here,threelightboxesaremountedlowonthewall;eachcontainsasingleblack-and-whiteimageofimpoverishedchildrenstandinginadustylandscape.Thephotographsarecroppeddramaticallyandpresentedupsidedown.(...)Threegilded"fine-art"frames-uniformlysizedtofitthethreelightboxes-arepositionendonthefloordirectlyinfrontofthephtoographs.Theleftframeisempty,thecenterframecontainsaseriesoffourprogressivelysmallerframes,andtherightframesurroundsamirror.1+1+1challengestheconventionalpoliticsofmuseumorgallerydisplay.(...)Thethreearrangementsofthegildedframe-usedhereastheiconicrepresentationofanaestheticexperience-offertheartaudiencethreepossiblewaysoflookingat"reality".(...)1+1+1suggests,initsinconclusiveness,Jaar'sambivalenceaboutart'sabilitytodirectlyeffecttheworld'smostpressingeconomicandsocialproblems."(JamesE.Rondeau)