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02/28/11
Place:
-Place: all spaces that people have made meaningful; all spaces people are attached to in one way or another. Space is meaningful location.
02/28/11
• 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”.
02/28/11
• 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.
02/28/11
• 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)
Portrait 1963 Latex, wall piece Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth © Louise Bourgeois Photo: Christopher Burke
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
Spiral Woman 1984 Bronze, hanging piece, with slate disc Courtesy Cheim & Read, Galerie Karsten Greve and Galerie Hauser & Wirth © Louise Bourgeois Photo: Christopher Burke
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 GBM2001.1. © 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
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− — —— 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/style5.cfm?File=20100606/sta13/vzl1h.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-art-maman-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 550cm Connaught Place Central Hong Kong
Robert and Lisa Sainsbury Collection, University of East AngliaCredit: Reproduced by permission of The Henry Moore Foundation
Tate PhotographyMother’s name: Lucy RockChild’s name: Tommy Rock
Mother and Child 1932
Corelia Parker
Cold Dark Matter: An Exploded View 1991Mixed media.
Tate. Presented by the Patrons of New Art (Special Purchase Fund) through the Tate Gallery Foundation 1995
Home | 1999 | wood, stainless steel, electric wire, light bulbs, computerised dimmer unit,
amplifier, speakers | 77 x 198 x 73.5 cm
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
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. '
馬琼珠
− REMEMBER HOW TO PLAY ( 'Remember How to Throb - Work No.1') 2002http://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 )