Angela Bulloch
安杰拉·布洛克
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安杰拉·布洛克(Angela Bulloch)1966年生于加拿大的法兰西堡，现在英国伦敦居住。 置身在安杰拉·布洛克的大型彩色灯光装置作品中，你会情不自禁的产生控制这些灯光的欲望，并想知道这一明一暗间所蕴含的思想。这些装置中，有的是由人们的行为触发系统开关，有的是通过音乐的旋律来控制，还有的是按照一定的规律控制灯光的亮与灭。处在作品之中，我们会被它深深的感染，不由自主地跟着它的节拍而不断地触发开关。对观众的平常行为做出反映是安杰拉 o 布洛克创作的根本原则，也是她作品的典型特征。自90年代初期以来，安杰拉 o 布洛克在不断地发现与探索新的艺术表现语言。有时，观众要坐在某一个看似简单的凳子上，以此关闭某个噪音源，或是开启一个绘画机器，让它在墙上画画，又或是开始一个电脑游戏。在另一些装置作品中，机械设备的开关被隐藏在一个盖有坐垫的地板上，观众一旦坐在垫子上，就启动了设备的运行。"规则系列"作品充分地表明了安杰拉 o 布洛克对人类行为控制系统的关心。复杂的世界需要规则来维持正常运行，这种充满理想主义色彩并与社会相适应的思想是安杰拉 o 布洛克作品的核心。因此她艺术中表现的事物往往是我们日常生活中所遇到的。
简历
安杰拉·布洛克
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安杰拉·布洛克(Angela Bulloch)1966年生于加拿大的法兰西堡，现在英国伦敦居住。 置身在安杰拉·布洛克的大型彩色灯光装置作品中，你会情不自禁的产生控制这些灯光的欲望，并想知道这一明一暗间所蕴含的思想。这些装置中，有的是由人们的行为触发系统开关，有的是通过音乐的旋律来控制，还有的是按照一定的规律控制灯光的亮与灭。处在作品之中，我们会被它深深的感染，不由自主地跟着它的节拍而不断地触发开关。对观众的平常行为做出反映是安杰拉 o 布洛克创作的根本原则，也是她作品的典型特征。自90年代初期以来，安杰拉 o 布洛克在不断地发现与探索新的艺术表现语言。有时，观众要坐在某一个看似简单的凳子上，以此关闭某个噪音源，或是开启一个绘画机器，让它在墙上画画，又或是开始一个电脑游戏。在另一些装置作品中，机械设备的开关被隐藏在一个盖有坐垫的地板上，观众一旦坐在垫子上，就启动了设备的运行。"规则系列"作品充分地表明了安杰拉 o 布洛克对人类行为控制系统的关心。复杂的世界需要规则来维持正常运行，这种充满理想主义色彩并与社会相适应的思想是安杰拉 o 布洛克作品的核心。因此她艺术中表现的事物往往是我们日常生活中所遇到的。
简历
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Pixel Text
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Beatrix Ruf
Since the end of the 1980s Angela Bulloch has produced works that vary greatly in appearance, they have nonetheless one topic in common: namely the handling and projections about the regulatory nature and organisational structures of our past and present life systems. Typically, she conceives several work groups concrurrently. She does not elaborate them in chronological order, but sometimes abandons one, only to take it up again at a later stage. These groups cover a wide range: sound works, light pieces, drawing machines which respond to movement, pressure or noises made by the viewers. Some of these are interactive, while others merely give the impression of being so. Then there are wall paintings, photo series, video interventions and text works called "Rules". Various self-imposed rules of society are chosen then removed from their particular social contexts and reinserted into different places. This process undermines the authority of the rules, and they become 'images' of society's structures. Angela Bulloch's works are either of an impersonal, technical nature or their aesthetic is determined by the technology employed (video, film, sound or image processing, etc.). Her work features forms familiar to us from the everyday world, or the "revamped" earlier version of the technology she employs. Consequently, regarding design concepts, the artist's entire life-span is represented - from the sixties until today (and into the future).
A central aspect of her work is that she not only enables us to experience from within how realities are organised as sites of action and systems. She also reveals the constant flux of things caused by the projection of ideas and concepts onto locations, objects and realities which actually exist. The perception of structures and the perception of this perception can be described as the site in which the restructuring of reality is expressed as the constitution of individuality.
The technology behind her more recent pixel works is relatively easy to explain as a reinvention of television. Bulloch collaborated with Holger Friese to create a special modular light mixing system that allows 1.6 million colours to be mixed thanks to fluorescent tubes in the three screen colours red, green and blue. They engaged a variety of technical experts for the research and development of the various pixel modules. An interface was invented to operate the modules individually with digital information and each work runs its own programme. Each pixel module consists of a backlit glass sheet in a box and fluorescent cubes arranged by the artist to form various structures: towers, rows and more recently an entire "movie screen".
(excerpt from Pixel Text, Kunsthaus Glarus, 2001)
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Beatrix Ruf
Since the end of the 1980s Angela Bulloch has produced works that vary greatly in appearance, they have nonetheless one topic in common: namely the handling and projections about the regulatory nature and organisational structures of our past and present life systems. Typically, she conceives several work groups concrurrently. She does not elaborate them in chronological order, but sometimes abandons one, only to take it up again at a later stage. These groups cover a wide range: sound works, light pieces, drawing machines which respond to movement, pressure or noises made by the viewers. Some of these are interactive, while others merely give the impression of being so. Then there are wall paintings, photo series, video interventions and text works called "Rules". Various self-imposed rules of society are chosen then removed from their particular social contexts and reinserted into different places. This process undermines the authority of the rules, and they become 'images' of society's structures. Angela Bulloch's works are either of an impersonal, technical nature or their aesthetic is determined by the technology employed (video, film, sound or image processing, etc.). Her work features forms familiar to us from the everyday world, or the "revamped" earlier version of the technology she employs. Consequently, regarding design concepts, the artist's entire life-span is represented - from the sixties until today (and into the future).
A central aspect of her work is that she not only enables us to experience from within how realities are organised as sites of action and systems. She also reveals the constant flux of things caused by the projection of ideas and concepts onto locations, objects and realities which actually exist. The perception of structures and the perception of this perception can be described as the site in which the restructuring of reality is expressed as the constitution of individuality.
The technology behind her more recent pixel works is relatively easy to explain as a reinvention of television. Bulloch collaborated with Holger Friese to create a special modular light mixing system that allows 1.6 million colours to be mixed thanks to fluorescent tubes in the three screen colours red, green and blue. They engaged a variety of technical experts for the research and development of the various pixel modules. An interface was invented to operate the modules individually with digital information and each work runs its own programme. Each pixel module consists of a backlit glass sheet in a box and fluorescent cubes arranged by the artist to form various structures: towers, rows and more recently an entire "movie screen".
(excerpt from Pixel Text, Kunsthaus Glarus, 2001)
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To the Power of 4.
15 September – 13 November 2005
Hauptraum
At the Secession, Angela Bulloch is showing a new series of pixel boxes. The boxes are both architecture and figure, and this synthesis–a classic avant-garde interface–is the focus of To the Power of 4., as the show is entitled. Angela Bulloch works with the tension between geometrical grid patterns (floor and ceiling design in the main space, form of the box) and organic bodies, extending their relationship by means of projections onto and into the boxes. In this context, the factors of "time" and "movement", like the notion of the "pixel", are to be understood not as physical units but as a logical principle–as a conceptual space.
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15 September – 13 November 2005
Hauptraum
At the Secession, Angela Bulloch is showing a new series of pixel boxes. The boxes are both architecture and figure, and this synthesis–a classic avant-garde interface–is the focus of To the Power of 4., as the show is entitled. Angela Bulloch works with the tension between geometrical grid patterns (floor and ceiling design in the main space, form of the box) and organic bodies, extending their relationship by means of projections onto and into the boxes. In this context, the factors of "time" and "movement", like the notion of the "pixel", are to be understood not as physical units but as a logical principle–as a conceptual space.
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Macro World: One Hour 3 and Canned
2002
Schipper & Krome, Berlin
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2002
Schipper & Krome, Berlin
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Seats of Power - Spheres of Influence
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Disenchanted Forest x 1001
2005
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The 1001 numbered metal disks hanging in a line around the wall allude to the numbering system that Berlin's environmental agency uses to manage its trees. The changing lights and synthetic electronic music composed by Florian Hecker create the impression of a controlled climate under constant technological surveillance.
Suspended ceiling and floor, over a kilometre of luminescent string, 105 silkscreen prints on Somerset welded paper, 1001 metal tree number plates, luminescent text painted directly onto the wall, various light sources, 7 channel electronic sound track by Florian Hecker
2005
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The 1001 numbered metal disks hanging in a line around the wall allude to the numbering system that Berlin's environmental agency uses to manage its trees. The changing lights and synthetic electronic music composed by Florian Hecker create the impression of a controlled climate under constant technological surveillance.
Suspended ceiling and floor, over a kilometre of luminescent string, 105 silkscreen prints on Somerset welded paper, 1001 metal tree number plates, luminescent text painted directly onto the wall, various light sources, 7 channel electronic sound track by Florian Hecker
Installation view at 1301PE (outside view)
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Installation View
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DJ Booth Rule
2001
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2001
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Horizontal Technicolour: Stills with Negative Space (Edition for Parkett 66)
2002
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2002
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TV Series: Global Weather / female 3a:2u
2002
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2002
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Installation view at 1301PE: micro_world
2002
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2002
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Fundamental discord: 16
2005
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2005
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Retrograde inversion: 8
2005
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2005
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The perfect fifth
2005
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2005
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Spectator,
2005
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2005
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The missing 13th,
2005
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2005
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Angela Bulloch, "Bean Bag Set," 1996
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Superstructure with Satellites 1997
Mixed Media, dimensions variable
© courtesy of Magnani, London
Angela Bulloch, "Bean Bag Set," 1996
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Superstructure with Satellites 1997
Mixed Media, dimensions variable
© courtesy of Magnani, London
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声--碰撞--凳子， 1997 书写在墙上的规则，1996
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规则系列，1993
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磨砂玻璃灯（绿、红、兰），1997
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工作凳，1996
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媒介，1997
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比特维勒，1994
声--碰撞--凳子， 1997 书写在墙上的规则，1996
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规则系列，1993
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磨砂玻璃灯（绿、红、兰），1997
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工作凳，1996
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媒介，1997
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比特维勒，1994
顶！
