菲利克斯·冈萨雷斯·托雷斯全部影视作品
首发于 qinglite.cn，统计截止日：2025-07-25
 开头 | - |
| 北 | - |
| “无标题” | - |
| 最后的光 | - |
| 美国＃1 | - |
| （3月5日）＃2 | - |
| 双人肖像 | - |
| 枪死 | The viewer's first reaction to Untitled (Death by Gun) is one of uncertainty. Is this stack of papers on the floor meant to be walked around and viewed from different angles, like sculpture? Or did the artist intend these papers to be picked up and examined? Listed on the sheets are the names of 460 individuals killed by gunshot during the week of May 1–7, 1989, cited by name, age, city, and state, with a brief description of the circumstances of their deaths, and, in most cases, a photographic image of the deceased. These images and words, appropriated from Time magazine, where they first appeared, reflect González-Torres's interest in gun control.Conceptually, Death by Gun is an ongoing work of art. Viewer participation is an important element, and the public is encouraged to read the sheets and take them away to keep, display, or give to others. While González-Torres determined that the stack is "ideally" nine inches high, he arranged for the depleted sheets to be continually reprinted and replaced, thus insuring that Death by Gun can be distributed indefinitely. From its beginnings, printed art has been made in multiple copies for dissemination to a wide audience. Here that idea is expanded with an edition that is "endless."Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 245Printed art by Félix González-Torres stands in bold contrast to the etchings, woodcuts, lithographs, and screenprints that make up the traditional history of modern print-making. González-Torres did not pursue this medium for the expressive possibilities inherent in its various techniques but, instead, chose it for its ability to function within his broader conceptual practice. The commercial offset process (photolithography) offered him a vehicle that was easy and inexpensive to produce, and also endlessly replicable. The fact that its surfaces maintained the detached, second-generation appearance of his often grainy photographic sources was a feature that suited his message of ephemerality rather than permanence.Stacks of printed paper, in the form of sculptural objects with Minimalist overtones, constitute a major component of González-Torres's work, which also encompasses such projects as installations of wrapped candy, hanging cords of lightbulbs, and beaded curtains. His printed art extended as well to billboards, give-away booklets, and newspaper inserts, often incorporating his own or found photographs. A gentle, poetic mood emanates from much of this art, suggesting poignant memories or provoking thoughtful consideration of social issues.While González-Torres dealt with gay rights, AIDS, and a variety of governmental abuses in his own work and as a member of the collective Group Material, the subject of "Untitled" (Death by Gun), and its treatment, is unusually specific for him. Appropriating imagery from Time magazine, it presents 460 individuals killed by gunshot in one week in the United States, and includes the name, age, and circumstances of death for each person depicted. No opinion about gun control is added by the artist. Here an issue of public debate engages anyone who follows the artist's intention and takes away one of his sheets. Dissemination, an age-old function of printed art, is ongoing since "Untitled" (Death by Gun) is reprinted as the stack is depleted. |
| 水 | - |
| 金色 | Felix Gonzalez-Torres’s artworks often encourage viewers to perform a simple action like taking a candy from a mound on the floor or rolling up a sheet of paper from a stack. Yet despite their apparent simplicity and emphemerality, these acts can evoke far more complex social and political undertones. Conjuring the vocabulary of Minimalism and post-Minimalism while reinvigorating it with open-ended content, Gonzalez-Torres leaves the construction of meaning to the participation of viewers, only subtly hinting at the autobiographical and incendiary in his untitled works. Conceived shortly before the artist’s death, “Untitled” (Golden) (1995) extends across a space as a luminous curtain, shimmering with faceted tendrils of faux-gilded beads. The gentle confrontation of this golden screen provokes the tactile and sensory, inviting the viewer to transform its shape simply by walking through. This collective and public experience of doing so, however, belies the intimate nature of Gonzalez-Torres’s other beaded curtain works, which often reference the organic and inorganic substances associated with battling AIDS. A kind of membrane, as pliable and permeable as the biological materials that compose the cells of the human body, “Untitled” (Golden) is a work of transitory passage—from life to death, public to private, the known to the unknown. (Lauren Hinkson) |
| 安慰剂 | - |
| 舆论 | "Untitled" (Public Opinion), a 700-pound spill of black-rod licorice pieces, displayable as either a corner piece or a carpet, is a dark, aggressive work. The missilelike shape of the candy and its brooding, almost sinister, appearance alludes to our culture’s pervasive militaristic outlook and hostile hegemonic stance. As an artwork produced in a conservative political climate, the sculpture also refers to the still pervasive censorship in America and suggests that public opinion is not as informed as it once was. (Nancy Spector) |
| 罗斯在洛杉矶的肖像 | Felix Gonzalez-Torres produced work of uncompromising beauty and simplicity, transforming the everyday into profound meditations on love and loss. “Untitled” (Portrait of Ross in L.A.) is an allegorical representation of the artist’s partner, Ross Laycock, who died of an AIDS-related illness in 1991. The installation is comprised of 175 pounds of candy, corresponding to Ross’s ideal body weight. Viewers are encouraged to take a piece of candy, and the diminishing amount parallels Ross’s weight loss and suffering prior to his death. Gonzalez-Torres stipulated that the pile should be continuously replenished, thus metaphorically granting perpetual life. |
| 完美情人 | “These two identical, adjacent, battery-operated clocks were initially set to the same time, but, with time, they will inevitably fall out of sync.” |
| 巴奇的一个角落 | - |
| 温水 | - |
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