TONY CRAGG | “非自然选择”的展览

在德国达姆施塔特市的Hessisches博物馆里，雕塑家托尼·克拉格流畅的、有机的形体充满了教堂般的内部空间，这是一场关于这位艺术家最新作品的大型专题展览。这位雕塑家出生于1949年的利物浦，1979年搬到德国，在那里他生活和工作，并于1988年获得特纳奖。他的雕塑作品闻名全球，然而，从1990年代后期开始，他转战制作更加精致的雕塑作品，仍然保持他的习惯，创作充满动性的作品。

The fluid, organic forms of sculptor Tony Cragg fill the church-like interiors of Hessisches Landesmuseum in Darmstadt, Germany, for a large-scale monographic exhibition on the artist’s most recent work. The Liverpool-born sculptor was born in 1949, and moved to Germany in 1979 where he still lives and works, and was the recipient of the Turner prize in 1988. Known around the world for his sculptures, Cragg actually began his career with site-specific installations and found materials; since the late 1990’s however, he turned to more polished and refined work, attributes that can still describe his towering and full of movement creations.

Exhibition view. Photo by Michael Richter © VG Bild-Kunst Bonn 2016

Exhibition view. Photo by Michael Richter © VG Bild-Kunst Bonn 2016.

Hessisches博物馆举办了一场“非自然选择”的展览。馆长 Dr Klaus-D. Pohl将Cragg的20多件雕塑作品放置在主厅中，带有宗教的风格建筑和Cragg的未来主义雕塑之间产生奇妙的碰撞。

For the show “Unnatural Selection” at Hessisches Landesmuseum Darmstadt, the curator Dr Klaus-D. Pohl placed some 20 sculptures of Cragg’s sculptures in the impressive main hall, thus creating an interesting juxtaposition between the almost religious style of the architecture and Cragg’s futuristic forms. 

 Forminifera, 1997. Plaster, steel, 250 x 300 x 300cm. Photo by Michael Richter.

作品由金属、大理石、木材和玻璃的组成，所有这些作品都反映了Cragg对材料、形态和视觉冲击的绝对掌握。例如，在作品Outspan(2007)中，用青铜制成的亮黄色扭曲造型的流畅性和近乎数字化的流畅所吸引；作品False Idols（2011）和Mental Image（2007）创造了已知和未知形式之间的关联，以令人着迷但不可思议的方式将自然与人工融合。

Works in metal, marble, wood and glass comprise the selection of works on display, all of which reflect Cragg’s investigations and absolute mastery of material, gesture and visual impact. In the work Outspan (2007) for example, we are carried away by the fluidity and almost digital sleekness of a bright yellow twisting form made of bronze; in a similar way the works False Idols (2011) and Mental Image (2007) create associations between known and unknown forms, merging the natural with the artificial in a mesmerising yet uncanny way.

Outspan, 2007. Bronze. 95 x 100 x 62 cm. Photo by Charles Duprat.

In an Instant, 2014. Wood, 130 x 118 x 133cm © VG Bild-Kunst Bonn 2016.

Mental Landscape. Photo by Charles Duprat. © VG Bild-Kunst Bonn 2016.

Mental Landscape, 2007. Jesmonite, 120 x 170 x 120cm.© VG Bild-Kunst Bonn 2016.

Pair, 2014. Wood, 410 x 99 x 76cm, 329 x 92 x 127cm. © VG Bild-Kunst Bonn 2016.

自然形态是Cragg的灵感来源，Cragg也是矿物和化石的收藏家。 为了突出这些自然形状与雕塑作品之间的联系，展览包括艺术家收藏的一系列样品，放置在雕塑旁边的特别展示中。 从这个意义上说，Cragg的作品可以被理解为一种幻想的游览，或者是神秘生物的遗骸或化石，来自遥远的远古时代。

Natural forms and patterns are a huge inspiration for Cragg, who is also a collector of minerals and fossils. To highlight the connection between these natural shapes and his sculptural work over the last 20 years, the exhibition includes a selection of samples from the artist’s collection placed in a special showcase next to the sculptures. In that sense, Cragg’s works can be understood as an excursion into a Palaeozoic fantasy and as the imaginary remains or fossils of mysterious life forms from a distant, pre-human past. 

Azurite sample from the natural history collection of Hessisches Landesmuseum Darmstadt.

Hessisches 博物馆也是大量动物化石，水晶和矿物质的家园，让游客可以在数百万年的自然历史宝藏和Cragg的富有想象力的作品之间进行更多的比较。 此次展览还附有一份100页的目录，其中有50幅插图，由Hirmer Verlag出版。

Interestingly enough, the Hessisches Landesmuseum Darmstadt is also home to a large collection of animal fossils, crystals and minerals, allowing visitors to draw even more comparisons between million-year-old natural-history treasures and Cragg’s imaginative work. The exhibition is also accompanied by a 100-page catalogue with 50 illustrations, published by Hirmer Verlag. 

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