伊娃·黑塞全部影视作品
首发于 qinglite.cn，统计截止日：2024-12-21
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| 幽灵 | - |
| 附加物 | The hemispheres along the bar of Eva Hesse’s Addendum are positioned at increasing intervals determined by a fixed mathematical series. Many artists used serial systems at this time because they provided a way of composing sculptures without recourse to personal expression. Hesse hung rope cords from each hemisphere which fall to the ground in unpredictable curls. The regulated structure of the bar contrasts with the disordered appearance of the cords. But Hesse recognised that such systems were hardly rational, commenting that ‘Serial art is another way of repeating absurdity’. |
| 新增物 II | Accession II seems a logical, structural outcome of the compartmental images characterizing Hesse's early paintings. Once again, the metal cube seems to have dropped straight out of a two-dimensional, Minimalist work of art, all the while the interior rows of tubing complicate its clean, exterior sensibility. Bristling along the inner walls of the cube like the quills of a porcupine, the protrusions give the cube an ominous aura that belies their soft plasticity. Is this a cloister of cushioning, or a torture chamber? The dual qualities of the box aptly characterize Hesse's own "life of extremes", the unknowing girl of a forced and tragic diaspora, and the accomplished university design student. Alluding to unexpected dangers and the need for a safe, protective space, Accession II embodies the artist's own fears and desires just as effectively, perhaps, as any more representational self-portrait. |
| 挂住 | - |
| 无题或尚未命名 | - |
| 眩晕迂回 | - |
| 明天的苹果（5个白色） | Hesse trained as a painter but, in the mid-1960s, experimented with making reliefs like this one, and began to use materials such as wool and string. This development was prompted by the difficulties she was having in translating her often complex drawings into painting. From making reliefs, Hesse naturally gravitated towards sculpture. This is one of Hesse’s earliest relief works and, like others of the time, is characterised by semi-organic shapes and trailing linear elements. |
| 十九个复制品 III | Repetition Nineteen, III comprises nineteen bucketlike forms, all the same shape but none exactly alike. Like many artists of her generation, Hesse explored repetition as a compositional strategy. However, rather than relying on the strict, hard-edged geometry of Minimalism, she deployed softer, handmade forms. This work is made of translucent industrial fiberglass, one of the artist’s favorite materials. Visually simple in its design, Repetition is actually complex for its many associations, both to Hesse's work to that date, as well as to the world around her. The tube-like objects are in keeping with Hesse's compartmental preoccupations, but they are also ambiguously sexual. Even so, the translucent fiberglass allows light to pass through the containers glowingly, lending the composite artwork a calming pastoral or even quasi-spiritual quality. |
| 十九个复制品 I | - |
| 刚好在之后 | - |
| 任何事物 | - |
| 特遣队 | - |
| 扩大扩张 | - |
| 豪瑟和沃思 | - |
| 不规则性节律II | Lucy Lippard, who organized the seminal show Eccentric Abstraction, was originally disappointed with Hesse's selection of Metronomic Irregularity II for the exhibition, due primarily to the work's apparent lack of sexual or organic qualities. Here, we see Hesse interested in something relatively free of erotic overtones, but just as extraordinary, by marrying Minimalist forms with Expressionist gesture. Indeed, the square pieces of slate with equal spaces of blank wall between them utilize the formal, highly reductive vocabulary of Minimalism. This visually muted impression is overcome, however, by the twisted fibers that approximate the effects of early 1950s "Action Painting". The push and pull between these different sources of inspiration and such starkly contrasting textures create a dissonance that gives Metronomic Irregularity a unique intensity, evoking at once the beat of a clock and the disarray of an all-enveloping windstorm. |
| 十一月双重的 | - |
| 环绕阿罗西 | A German exhibition by Jean Tinguely may have triggered the kitschy, playful vein of Ringaround Arosie, although Hesse was already familiar with the erotic surrealism of Marcel Duchamp. We might also see in this work the playful, absurd qualities of Dada, as well as the more fantastic, futuristic elements of late Bauhaus as manifested in the abstract theatrical costumes of Oskar Schlemmer and others of pre-war German design culture. Hesse has identified the two central objects as a breast and a penis, which lends the work a humorous quality; at the same time, the relief exudes a stereotypically feminine persona with its pink tonality and craft-like texture. The title, which recalls a well-known childhood game with a haunting subtext referring to "falling down" or similarly suffering a calamity, has been interpreted as a statement of Hesse's own desire at that time to become a mother. As if giving birth to another dimension in her own work, this first relief by Hesse is an important landmark in her evolving path from painting to so-called "eccentric" sculpture. |
| 行走球的后腿的习作 | - |
| 步行球的腿 | - |
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