约瑟夫·博伊斯全部影视作品
首发于 qinglite.cn，统计截止日：2025-01-25
 西比拉（正义） | - |
| 肥胖的椅子 | - |
| 如何向死兔解释图片 | One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. |
| 渗入钢琴 | - |
| 雪橇 | - |
| 包裹 | The Pack exudes the chaotic and dynamic energy which Beuys considered essential in order to bring change in society. Twenty-four sledges, resembling a pack of dogs, tumble from the back of a VW van. Each sledge carries a survival kit made up of a roll of felt for warmth and protection, a lump of animal fat for energy and sustenance, and a torch for navigation and orientation. Beuys commented: ‘This is an emergency object: an invasion by the pack. In a state of emergency the Volkswagen bus is of limited usefulness, and more direct and primitive means must be taken to ensure survival.’This strongly autobiographical work refers directly to Beuys’s plane crash over the Crimea during the Second World War. He often described being rescued by a band of Tartars who coated his body with fat and wrapped him in felt. Whether real or mythical, the story shows the symbolic importance of these materials in Beuys’s mind. It also suggests a fable of death and rebirth in which Beuys is purged, perhaps of his wartime guilt, and brought back to life by a nomadic people. |
| 我喜欢美国和美国喜欢我 | A master of compelling performance pieces, Beuys flew to New York, picked up by an ambulance, and swathed in felt, was transported to a room in the Rene Block Gallery. The room was also occupied by a wild coyote, and for a period of 8 hours a day for the next three days, Beuys spent his time with the coyote in the small room, with little more than a felt blanket and a pile of straw. While in the room, the artist engaged in symbolist gestures, such as striking a triangle and tossing his gloves to the coyote. At the end of the three days, the coyote, who had become quite tolerant of Beuys, allowed a hug from the artist, who was transported back to the airport via ambulance. He never set foot on outside American soil nor saw anything of America other than the coyote and the inside of the gallery. |
| 地震 | Terremoto, meaning earthquake in Italian, directly refers to a November 23, 1980 earthquake in the mountains above Naples, destroying the city. Beuys, along with other artists, were invited to create works to commemorate the event and the lives lost. This particular piece, held at the Guggenheim museum, also represents Beuys political belief for independence of this area of Naples from Italy. The piece consists of an old typesetting machine, which was once used to print the newsletter of a leftist political party. Sitting up against the machine is an Italian flag, covered with felt. Manifestos calling for political action are glued to the machine, as well as black skulls, most likely representing the dead from the quake. |
| 卡普里电池 | Considered to be one of his last great works before he died, Beuys created over 200 multiples of “Lemon Light/Capri Battery” in 1985. The yellow light bulb is plugged into a fresh lemon, from where it gets its energy, emitting a dim yellow glow. In this piece, Beuys is calling into question the ecological balance of civilization, the principle behind which is an ecologically sound energy source. Beuys completed the work on the island of Capri, hence the name, while he was recovering from an illness, and the light’s lemon yellow color reflects this jovial atmosphere and bright Mediterranean sun. |
| 一半粉尘图像“马格达” | - |
| 革命者的心脏：未来行星的通道 | - |
| Bug der Argo | - |
| 花之女神 | - |
| 女演员 | - |
| 木质圣母 | - |
| 喷火的女巫 | - |
| 国王的女儿见冰岛 | - |
| Action, Agit-Pop, De-Coll/age, Happenings, Events, L'Autrisme, Art Total, Re-Fluxus | - |
| 感觉西装 | Beginning in 1965, Beuys began producing replications of his pieces, which he termed “multiples.” In an effort to make art more readily available to the general public, rather than rich art collectors, Beuys created over 600 editioned pieces of his works. Beuys created installation pieces because he thought that concrete works were more potent than the written word. In this particular piece, the felt suit hangs like an empty shell, and according to Beuys, symbolized protection from the world and individual isolation. In his view, art was not about portraying beauty, but about communication and freedom, and in this case used traditional materials in a non-traditional manner, calling traditional art into question. |
| 明亮的雄鹿椅子 | - |
评论