- Slides: 51
On space: home and place
Place: -Place: all spaces that people have made meaningful; all spaces people are attached to in one way or another. Space is meaningful location.
• a. location: fixed objective co-ordinates on the Earth’s surface; • b. locale: material setting for social relations, actual shape of place within which people conduct their lives as individuals, the concrete/material form of a place. Places are material things. • c. Sense of place: subjective and emotional attachment people have to place, the feeling of “to be there”.
• Space vs. Place: space is a more abstract concept than place. Spaces have areas and volumes. Space have been seen in distinction to place as realm without meaning. When humans invest meaning in a portion of space and then become attached to it in some way it becomes a place.
• Place vs. Landscape: landscape referred to a portion of the Earth’s surface that can be viewed from one spot. In most definitions of landscape the viewer is outside of it, and this is the primary way in which it differs from place. Places are very much things to be inside of it. As a viewer, we do not live in landscapes, we look at them, and we only live in a place as an inhabitant.
home • Denote a more personalized environment that the idea of house or building. • An enclosed dwelling or shelter which is familiar, secure and comforting. • It is also a system of representation; • Involving the relationship between people and people, people and objects, people and place; that signifies who you are- to whom, where, when you belong to. • Walter Benjamin: ' to live is to leave traces. ' • (see Gill Perry and Paul Wood ed. , Themes in Contemporary Art, Chapter 6)
Louise Bourgeois the uncanny
Louise Bourgeois in 1982 with “Fillette” 1968, by Robert Mapplethorpe
Portrait 1963 Latex, wall piece Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth © Louise Bourgeois Photo: Christopher Burke
Janus Fleuri 1968
A shot from the 2007 -08 Louise Bourgeois exhibition at Tate Modern. Janus Fleuri (1968) is in the centre. Photograph: Christian Sinibaldi
Sleep II 1967 Marble, on two wooden timbers Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth © Louise Bourgeois Photo: Peter Bellamy
Louise Bourgeois, Fillette, 1968, latex over plaster, 59. 5 x 26. 5 x 19. 5 cm
Spiral Woman 1984 Bronze, hanging piece, with slate disc Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth © Louise Bourgeois Photo: Christopher Burke
St Sebastienne, 1992. Photograph: Chris Gardner/AP
Maman, 1999, Steel, 35 ft in height, Tate Modern, London
Maman, 1999, cast 2001. Bronze, marble, and stainless steel, Edition 2/6 + A. P. , 29 feet 4 3/8 inches x 32 feet 1 7/8 inches x 38 feet 5/8 inches (895 x 980 x 1160 cm). Guggenheim Bilbao Museoa GBM 2001. 1. © Louise Bourgeois/Licensed by VAGA, New York, NY. Photo: Erika Barahona-Ede
Fragile Goddess 2002 Fabric Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth © Louise Bourgeois Photo: Christopher Burke
See more − 七色部落—視覺藝術� 讓我們明澄上路——悼念露意絲‧布爾喬亞 2010年 6月6日，明報 http: //ol. mingpao. com/cfm/style 5. cfm? File=20100606/sta 13/vzl 1 h. txt − More on Guardian: Jonathan Jones, Louise Bourgeois: 10 essential artworks, 1 June 2010. http: //www. guardian. co. uk/artanddesign/2010/jun/01/louise-bourgeois-artmaman-sculpture − Tate Modern Retrospective (2008): http: //www. tate. org. uk/modern/exhibitions/louisebourgeois/default. shtm
vs. Henry Moore (1898 − 1986): Double Oval 1966 (LH 560) bronze length 550 cm Connaught Place Central Hong Kong
Mother and Child 1932 Robert and Lisa Sainsbury Collection, University of East Anglia Credit: Reproduced by permission of The Henry Moore Foundation Tate Photography Mother’s name: Lucy Rock Child’s name: Tommy Rock
Corelia Parker Cold Dark Matter: An Exploded View 1991 Mixed media. Tate. Presented by the Patrons of New Art (Special Purchase Fund) through the Tate Gallery Foundation 1995
Divan Bed 1996
Home | 1999 | wood, stainless steel, electric wire, light bulbs, computerised dimmer unit, amplifier, speakers | 77 x 198 x 73. 5 cm
Traffic | 2002 | compressed card, plastic, metal, beeswax, human hair | 48 x 65 x 68 cm
BBC radio 3 interview http: //www. bbc. co. uk/radio 3/johntusainterview/hatoum_transcript. shtml
Doris Salcedo (Colombian, born 1958)
Noviembre 6 y 7 (2002) (Noviembre 6 y 7 (2002) was a commemoration of the seventeenth anniversary of the violent seizing of the Supreme Court, Bogotá on 6 and 7 November, 1985. Salcedo sited the work in the new Palace of Justice where, over the course of 53 hours (the duration of the siege), wooden chairs were slowly lowered against the façade of the building from different points on its roof, creating “an act of memory” in order to re-inhabit this space of forgetting. In 2003, in Istanbul, she made an installation on an unremarkable street comprising 1, 600 wooden chairs stacked precariously in the space between two buildings. )
Untitled 1995. Wood, cement, steel, cloth, and leather, 7' 9" x 41" x 19" (236. 2 x 104. 1 x 48. 2 cm). The Norman and Rosita Winston Foundation, Inc. Fund and purchase. © 2011 Doris Salcedo
Untitled (Armoire), 1992
Unland: audible in the mouth 1998
Unland: irreversible witness 1995 -8 San Francisco Museum of Modern Art Right: Doris Salcedo Unland: the orphans tunic 1997 Fundació “la Caixa” Barcelona
Rachel Whiteread • 'one struggles between the necessity of being faithful to the memory of the other, to keep that loved one alive within us, and with the necessity of over-coming that impossible mourning with forgetting. / My work deals with the fact that the beloved – the object of violence- always leaves his or her trace imprinted on us. Simultaneously, the art works to continue the life of the bereaved, a life disfigured by the other's death. . . I would say that the only way in which i confront memory in my work is to begin with the failure of memory. '
House 1993 (video clip: http: //www. youtube. com/watch? v=MEts. YIIIfkw )
Untitled (Stacks), 1999, plaster, polystyrene and steel. (Image: Anthony d'Offay Gallery)
Holocaust Memorial, Vienna 2000
馬琼珠 − REMEMBER HOW TO PLAY ( 'Remember How to Throb - Work No. 1') 2002 http: //ivyma. net/soft_materials/remember_play/index. html − Domestic Sample A (right) / net cloth for construction site 2008 − Domestic Sample B (left) / needles, stool top, wood 2008 (http: //www. ivyma. net/objects/index. html )
尹麗娟 ”Lost in Translation Among Danish Canned Fish (1 st edition)“ 2010
Longing and Rediscovery (Full view) (1999) ceramics, size unknown