Francis Alys.Francis Alys.Francis Alys.Francis Alys.Francis Alys.
发起人:嘿乐乐  回复数:32   浏览数:10222   最后更新:2011/05/21 16:24:36 by guest
[楼主] 嘿乐乐 2007-05-21 06:39:24
Francis Alys

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Francis Alys出生于1959年,比利时。在欧洲学习了工程与建筑后,作为建筑师,Francis Alys于1987年到墨西哥工作。

在墨西哥,纽约和伦敦等地工作的期间,他也在1991年开始以艺术家的身份参展。他的作品开始广泛的在欧洲,美国和墨西哥展出。

Francis是一位强迫性流浪者。利用纪实影片、照片、录像、绘画和行为,他编绘了一组富有个人风格的反映了社会和经济环境特殊的纪录。

对日常生活拥有近距离观察,Francis对于短暂和偶发事件擦身而过的观点是:“我花了很多时间在城市的各个角落溜达...很多作品的概念就在步行的时候蹦出来。作为一名艺术家,我的身份就等同于要在移动的环境中安置自己的。我的作品是成功的纪录和指南。语言的创造和城市的创造在是并肩的,我的每一个创造是我另一个正在创造中故事的碎片,是我试图绘制的城市地图.”
[沙发:1楼] 嘿乐乐 2007-05-21 06:49:49
Fairy Tales 神话故事

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Fairy Tales, 1994 Kolorierte Fotografie
©Der Künstler
[板凳:2楼] 嘿乐乐 2007-05-21 06:51:35
The Rehearsal 排练

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Videostill aus "The Rehearsal" (1999-2004)
©Der Künstler
[地板:3楼] 嘿乐乐 2007-05-21 06:53:51
When Faith Moves Mountains 愚公移山

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(2002)
A Project for Geological Displacement.
A project by Francis Alÿs, collaborating with Rafael Ortega and Cuauhtémoc Medina.

On April 11th 2002, 500 voluntiers were called in order to form a line to move a sand dune situated in the surroundings of the city of Lima. This human comb progressed pushing forward a certain quantity of sand with shovels in order to move the dune from its original position. The actual displacement was of an infinitesimal proportion, but not its metaphorical resonance.

2002年4月11日,500名志愿者聚集到利马城市周边的沙丘上排列成一条直线。这把像梳子一样人线,慢慢的向前移动,人们手里拿着铲子试图将沙丘搬移离开原地。它真实的移植在这里虽是微不足道的,但它喻义产生的共振是重大的。
[4楼] 嘿乐乐 2007-05-21 08:34:03
Sleepers 睡者

1999

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[5楼] 嘿乐乐 2007-05-21 08:37:04
Zocalo May 20 1999

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Running time: 12 hours.
Courtesy of the artist and Frith Street Gallery.

This film captures twelve hours of uninterrupted footage of Mexico City’s central plaza, known as the Zocalo. This vast square, second in size only to Moscow’s Red Square, is a favoured location for political demonstrations. However, Alÿs chooses to focus on an uneventful day in the square’s history. The flagpole dominates the square, creating a long shadow in the intense Mexican sun. Like a giant sundial, it demarcates both space and time. The main characters in the film are members of the public who traverse the square and line up in the cool refuge of the flagpole’s narrow shadow.

这个影片连续的捕捉了墨西哥城的Zocalo广场12个小时的镜头。这个辽阔的广场,排名在莫斯哥红色广场之后,是著名的政治示威最佳场地选择。无论如何,艺术家试图拍摄它平凡的一天。立在正中央的旗杆支配着整个广场,毒辣的墨西哥太阳把它的影子拉的长长的。像个巨大的日晷,它划分了时空。影片里的主角是那些横越广场的人们,还有那些为了躲避日晒而站立在细长的旗杆影子里的人。
[6楼] 嘿乐乐 2007-05-21 09:07:33
Seven Walks  7 步

Guards  守卫  2003


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A journey implies a destination, so many miles to be consumed, while a walk is its own measure, complete at every point along the way.

The film begins with the image of a lone guardsman, in traditional red coat and bearskin hat, a gun held loosely in his hand, wandering through London’s deserted financial district. There’s something odd about this image. Guardsmen aren’t usually seen alone and they either march or stand still. This one swaggers. And what is he doing here in the City anyway? Then we see other guardsmen, also walking aimlessly along Bishopsgate, past Guildhall and through Barbican. When two guardsmen meet they pause, present their arms and march away in step. Gradually small groups form and merge into larger groups until finally an 8 x 8 square of guards has formed. The group marches to the nearest bridge across the Thames. Once they’re on the bridge the group dissolves.


旅程暗示着目的地的存在,前方还有那么多英里路,当路有着它自身的价值时,每一段都将是完整的。

-----  Francis Alÿs


影片的开始,一位孤独的守卫,身穿传统的红大衣和熊毛帽,手里握着一把枪。令人感觉非常奇怪,守卫一般都是一队的,这个守卫却孤独的步行在伦敦的金融区。然后我们接着看到另一些守卫,步行在伦敦的街道上,然后他们相遇,亮出兵器行礼后离开。接着是一小队的守卫融入跟大的部队里,步操到泰晤士河桥边,过了桥后他们就解散了。
[7楼] 嘿乐乐 2007-05-21 09:11:31
"Torre I"

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Sculpture-Installation, Mixed media (ITALY)
[8楼] 嘿乐乐 2007-05-21 09:15:31
Ambulantes, 2000 - 2002  走动的 2000-2002

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selection of 80 slides of people pushing and pulling their wears around Mexico City. Slowly, we begin to create a fable around what we are viewing, stories of a street economy, of vendors' stalls, of movers. The incidental, the everyday, becomes visible.


"Ambulantes" is a series of slides taken between 1992 and 2002 showing people conveying goods, as well as the so-called hawkers and peddlers who inhabit the streets of this megalopolis. People are seen staggering under perilously high piles of all manner of products, shouldering impossibly large objects or trundling the paraphernalia of their trade before them. The city as a place of trade and exchange is inventively and playfully presented by these "jugglers". The way the protagonists improvise solutions for their transport problems imbues the streets almost with a sense of folkloristic theatre.

“走动的”是一系列拍摄于1992年至2002年间的幻灯片,拍摄的对象是搬动货物的人,或则是寄居于大都市中的小贩。他们看起来遥遥惶惶的正搬运着和他们体型不对称的东西,似乎很危险的用一辆小车推动着这些庞然大物。城市作为交换物件的地方被这些“耍戏的人”变得更好玩了。那些积极的高举准备解决街道运输管制问题的领导人们在这里闻起来就像个保守的民俗剧院一样。
[9楼] 嘿乐乐 2007-05-21 09:45:52
Le temps de sommeil

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Francis Alys: Le temps de sommeil, 1996 - 2004, photo for the exposition at Martin-Gropius-Bau, Berlín. Repro: Courtesy BVR.
[10楼] 嘿乐乐 2007-05-21 09:46:53
Bolero (Shoe Shine Blues)

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Francis Alys, Bolero (Shoe Shine Blues). 1999-2004, still from an animated film. Repro: Courtesy Peter Kilchmann Gallery, Zurich.
[11楼] 嘿乐乐 2007-05-21 09:47:44
The Collector 收藏家

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Francis Alys, The Collector, Mexico City, October 1991, detail from the perfomance. Repro: archive of the editor.
[12楼] 嘿乐乐 2007-05-21 09:48:28
The Modern Procession 摩登的队伍

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Francis Alys, The Modern Procession, 2002, photographic documentation. Repro: Courtesy P. Kilchmann Gallery.
[13楼] 嘿乐乐 2007-05-21 09:49:13
The Prophet. Version II

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Francis Alys, The Prophet. Version II, 2001, oil on canvas and wood. Repro: Courtesy Peter Kilchmann Gallery, Zurich.
[14楼] 嘿乐乐 2007-05-21 09:50:07
Tourist  游客

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Francis Alys, Tourist, photo. Repro: Peter Kilchmann Gallery, Zurich.
[15楼] 嘿乐乐 2007-05-21 09:56:27
Paradox of Praxis 自相矛盾的实践

1997

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Is a work for which the artist pushed a block of ice through the streets of Mexico City until it melted.

在墨西哥城里推动一块大冰,一直到它溶化。
[16楼] 嘿乐乐 2007-05-21 10:21:59
Untitled

1995

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[17楼] 嘿乐乐 2007-05-21 10:27:30
El soplon - The prompter

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(installation in 4 parts, incl. 1 encaustic, various sizes, 2 sgd.; in collab. w/Enrique Huerta, Juan García and Emilio Rivera) 
1995 -
[18楼] 嘿乐乐 2007-05-21 10:29:55
Untitled

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(in 4 parts, various sizes, incl. 1 encaustic, paper and adhesive on linen) 
1994 -
[19楼] 嘿乐乐 2007-05-21 10:32:09
Paralelas

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(in 2 parts) 
1993 -
[20楼] 嘿乐乐 2007-05-22 03:44:23
sometimes doing domething poetic can become political
and sometimes doing something political can become poetic

有时候做些诗意的事儿会变成很政治,而有时候做些很政治的事儿却会变成很诗意

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[21楼] 嘿乐乐 2007-05-22 03:49:11
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sometimes doing domething poetic can become political
and sometimes doing something political can become poetic

有时候做些诗意的事儿会变成很政治,而有时候做些很政治的事儿却会变成很诗意, 2005 , 截频

The Green Line  绿线

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Francis Alÿs on his walk through Jerusalem in 2005, in which he retraced the Green Line with a leaky paint can.

Francis 手里拿着一罐绿色的油漆,油漆罐上戳一个小孔,让油漆可以慢慢的流出来。这个叫着 The green line 绿线 的作品,是一个艺术家步行从耶路撒冷的一段到另一端,共15英里 的行为。经过马路,院子,石山....在这些地形上画一条线。
这条他步行经过的路线是地图上的一条绿线,在1948年阿拉伯和以色列休战后,此线条指明这块土地将由新的以色列国土管辖。(这个作品也是展览《有时候做些诗意的事儿会变成很政治,而有时候做些很政治的事儿却会变成很诗意》的一部分)
[22楼] 嘿乐乐 2007-05-22 05:22:33
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“Can an artistic intervention truly bring about an unforeseen way of thinking? Can an
absurd act provoke a transgression that makes you abandon the standard assumptions on the
sources of conflict? Can those kinds of artistic acts bring about the possibility of change?”


艺术的干涉是否真的可以产生预知?一个荒唐的举动是否就真的可以让你抛弃对常规的冲突源头的假设?这种艺术的举动是否真的可以带来改变?
[23楼] 嘿乐乐 2007-05-22 06:10:46
Untitled (New Jersey City)


2000
Video

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[24楼] 嘿乐乐 2007-05-22 06:56:47
'El Gringo'  外国人


(2003) 录像

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[25楼] 嘿乐乐 2007-05-22 07:19:27
Alys et moi

Alys 是我


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[26楼] 11yio 2007-05-22 08:21:09
EL GRINGO






[27楼] guest 2010-12-13 01:27:22

[28楼] artmamama 2010-12-13 10:49:32





[29楼] guest 2011-05-19 22:08:33
艺术眼Artbaba:为什么baba还有Francis Alys超级资料
@石青的文字小仓库:中产阶级艺术家

[30楼] guest 2011-05-19 22:11:55
石大爷和照要记者的共同的敌人……
[31楼] guest 2011-05-21 13:03:08
别逗了,您这两位作品装逼装成那样了,真不害臊
[32楼] guest 2011-05-21 16:24:36
用阶级去划分观众?既看不起观众又看不起艺术家自己?
艺术家受欢迎就怪观众中产趣味,艺术家不受欢迎,还是怪观众低级趣味。

两位看了那么多书还是这么低级趣味。
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