学生作品ガイド
著作権 この作品は、現在も著作権の保護対象です。ugo rondinone は 1964 に生まれ、没年は記録されていません。著作権は、作者の死後 70 年間存続します。この画像は教育目的の参照用として掲載されており、権利は権利者に帰属します。
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primitive — ugo rondinone
Shaded: ugo rondinoneの生涯 (1964–?)
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primitive — ugo rondinone
The storm, the waterfall, the dust, the horizon, and other earthly and celestial things – so are named Ugo Rondinone’s little bird sculptures, the flock of which took up residence at Artspace for the 19th Biennale of Sydney (2014). Each is an individual entity – a strange little character, assigned a tremendous name that evokes elements of the earth or the heavens – and together they represent the natural world brought into the artificial place of the gallery.Rondinone has fashioned his large cast of fowl using the most economical of means: the works are hand sculpted in clay, now cast to bronze. The viewer can still see the hand and thumb marks in the lumpen mud material. In choosing birds as embodiments of the elements, Rondinone is linking most specifically to the eastern and Arabic histories of Chinese, Japanese and Egyptian art, which have long traditions of assigning attributes and ideals to living creatures. It may be that Rondinone’s primitive (2011–12), as he has collectively named the pieces, belongs to the Kantian notion of the sublime, which is to be found in ideas of absolute totality and freedom. His birds represent a kind of liberation from civilisation’s attempt to categorise and formalise nature. Small though they are, these primitives dominate space and time in an interestingly perverse way. Random, and spatially opportunistic, they hold a strange power over the visitor who must pay heed to their individual whereabouts. Swiss-born, New York-based Rondinone works with an assortment of materials across a variety of media including drawing, painting, sculpture, video and installation. The artist is renowned for creating works that explore the depths of human emotion, resonating with the psyche and imagination, and navigating boundaries between dreams and reality. Themes of isolation and disenchantment recur throughout Rondinone’s oeuvre, made palpable to the viewer through motifs such as life-sized sculptures of mute clowns in various states of repose. An example of this can be seen in if there were anywhere but desert. Wednesday (2000), part of a series of seven works that feature slumbering clowns placed around the gallery. Referencing Bruce Nauman’s 1987 work titled Clown Torture, Rondinone plays with ideas of alienation by creating a tangible disconnection between the inert figure of the normally vibrant entertainer and the audience. In clockwork for oracles (2011), Rondinone examines the passing of time and alludes to connections between the celestial and the commonplace through the title, which is taken from a poem by Edmund Jabès, a writer known for his works contemplating Judaism and exile. Composed of 52 wall-mounted windows, one for each week of the year, set against a wallpaper of whitewashed newsprint, clockwork for oracles becomes activated by the presence of the audience. The multicoloured panes, reminiscent of stained-glass windows often found in places of worship, capture the movement of the viewer like fleeting apparitions in their reflective surfaces. In contrast to some of his slicker, more colourful works, Rondinone’s recent exhibition, ‘soul’, presented at Gladstone Gallery in New York and Galerie Eva Presenhuber in Zurich, comprised a multitude of sculptures made from roughly hewn blocks of bluestone stacked to form anthropomorphic figures. The sculptures, all similar yet completely individual, are each named for a different emotional state (the keen, the considerate, the contented) and demonstrate visible tool marks and traces of the stone’s natural state. The contrast between the rough, imperfect surface of the primal figures and the smooth concrete of their pedestals reflects humanity’s relationship to both the constructed and the natural world.Rondinone’s work has been exhibited extensively all over the world, with solo shows at Sommer Contemporary Art, Tel Aviv (2013); M Museum Leuven (2013); Art Institute of Chicago (2013); Galerie Krobath, Vienna (2012); The Common Guild, Glasgow (2012); Galerie Eva Presenhuber, Zurich (2011); Gladstone Gallery, New York (2010); Sadie Coles HQ, London (2009); SculptureCenter, New York (2008); Hayward Gallery, London (2008); Whitechapel Gallery, London (2006); and Centre Pompidou, Paris (2003). Rondinone’s work has also been included in prestigious group exhibitions worldwide, including Yokohama Triennale (2011); 52nd Venice Biennale (2007); 2nd Prague Biennale (2005); 7th Biennale de Lyon (2003); Liverpool Biennale (2002); and 23rd São Paulo Biennial (1996). In 2013, Rondinone created a major work, Human Nature, in Rockefeller Center for New York’s Public Art Fund.
アーティストと美術館
In the vast, shifting landscape of contemporary art, few creators command the ability to bridge the gap between the primordial and the neon-lit present as masterfully as Ugo Rondinone. Born on November 30, 1964, in the serene Swiss town of Brunnen, Rondinone carries within his lineage a profound connection to the tactile reality of stone and earth. The son of Italian parents, his father Benito was a mason from the ancient, limestone-carved city of Matera—a heritage that whispers through Rondinone’s monumental use of rock and mineral. This ancestral link to the weight of history and the permanence of geology provides the foundational gravity upon which his more ethereal, psychedelic explorations are built.
Rondinone’s artistic consciousness was significantly shaped by his formative years in Europe, particularly through his studies at the Kunsthochschule Wien. It was here that he encountered the visceral, ritualistic provocations of Hermann Nitsch, a mentor whose influence instilled in Rondinone a fascination with the raw, unmediated power of elemental forces. This early exposure to performance art and the concept of the "ritual" allowed him to view sculpture not merely as static objects, and instead as living entities capable of evoking the sublime. As his career progressed from the artistic circles of Zurich to the global stage, his work began to oscillate between the heavy, grounded reality of concrete and stone and the weightless, vibrating energy of light and color.
The evolution of Rondinone’s oeuvre is marked by a striking duality, where the organic meets the artificial in a dance of vibrant contrasts. One of his most recognizable contributions to the medium of painting is his series of radiant rings. These works, characterized by concentric circles of brilliant, saturated hues set against stark, minimalist backgrounds, act as portals for contemplation. They possess a deceptive simplicity that belies their psychological depth, inviting the viewer into a meditative state where the boundaries between the self and the cosmos begin to blur. This same fascination with repetition and scale is found in his more sculptural endeavors, where he utilizes neon and fluorescent pigments to breathe a synthetic life into natural materials.
Beyond the canvas, Rondinone’s mastery of sculpture allows him to manipulate space and perception through diverse media:
The Primitive Birds: In works such as his "primitive" series, he hand-sculpts small, bronze-cast birds, assigning them celestial and earthly names like The Storm or The Horizon. These creatures serve as tiny, potent embodiments of the natural world, bringing the vastness of the heavens into the controlled environment of the gallery.
Neon Totems: His ability to use light as a sculptural material creates a sense of "artificial nature," where glowing, man-made colors interact with the rugged textures of stone and metal.
The Mute Clowns: Exploring themes of isolation and the human psyche, his life-sized sculptures of clowns in states of repose offer a poignant, sometimes unsettling, look at the boundaries between dreams and reality.
Perhaps no achievement has brought Rondinone’s name to the global consciousness more than the 2016 installation, Seven Magic Mountains. Situated in the arid, sun-drenched desert south of Las Vegas, this collaborative triumph with Jeanne Gang Architects features seven towering totems of stacked, car-sized boulders. Each stone is coated in a skin of fluorescent, neon paint, creating a startling visual intervention that disrupts the monochromatic desert landscape. This project stands as a definitive statement of his artistic philosophy: a bold, unapologetic collision of the ancient, geological past with the hyper-saturated aesthetic of contemporary pop culture.
The historical significance of Rondinone’s work lies in its refusal to be categorized. He exists in the tension between the Kantian sublime—the overwhelming awe of nature's totality—and the playful, almost childlike wonder of bright colors and whimsical forms. By navigating the delicate threshold between the earthbound and the celestial, between the heavy stone and the weightless light, Ugo Rondinone has created a visual language that resonates deeply with the modern condition, reminding us that even in our most artificial environments, the elemental forces of the universe remain ever-present.
展示場所 シドニー, オーストラリア
オーストラリアで最も活気に満ちた都市のただなかに、
は単なる展覧会としてではなく、2年ごとに世界の現代アートの風景を再定義する、リズムを刻む鼓動のように現れます。1973年、象徴的なシドニー・オペラハウスにおいてフランコ・ベルジョーニ＝ネッティスの大胆な構想によって産声を上げたこの祭典は、知的好奇心と文化的な対話を促す深遠な触媒としての役割を果たしてきました。過去を静かに保管する貯蔵庫のような伝統的な美術館とは異なり、ビエンナーレは「現在」という切実な対話を優先させる、呼吸する生命体なのです。そこは芸術の境界が常に試される場所であり、コレクターや愛好家たちは、アイデンティティ、エコロジー、そして社会正義に対する私たちの認識に挑戦する、画期的な表現者たちの出現を目の当たりにすることになります。
ビエンナーレの本質は、その変容をもたらすキュレーション・ビジョンにあります。それは、恒久的なコレクションを保持することよりも、儚くも力強いテーマに基づいた旅路を重視しています。各エディションは、未知なるものとの緻密に構成された遭遇であり、大陸を越えて集められた作品群を編み合わせることで、現代が直面する複雑な課題へと向き合います。審美眼を持つ人々や洗練されたコレクターにとって、これらの展示は単なる視覚的な愉悦を超え、人間体験の根源的な部分に深く、本能的に触れる機会を与えてくれます。
NIRIN
(2ウム、2020年) で探求された深遠な先住民の知識体系に没入したり、
rīvus
(2024年) の展示に見られる、相互接続性の流動的なメタファーを辿ったりすることもあるでしょう。そして現在の
Ten Thousand Suns
は、私たちを純粋な想像力の領域へと誘い、芸術を「私たちの共有する未来を再構築するための道具」として用いるという、この祭典独自の能力を証明しています。
ビエンナーレの建築的な魂は、そのプログラムと同様にダイナミックであり、シドニーの産業遺産を再利用することを通じて、しばしば最も鮮烈な表現を見せます。巨大な工業施設である
ホワイト・ベイ発電所
が広大な展示空間へと変貌を遂げる様は、既存の構造物や視点に新たな命を吹き込むという、この祭典の使命を象徴する息を呑むようなメタファーとなっています。多様なサイト・スペシフィック（場所固有）な会場を戦略的に活用することで、芸術は決して白い壁の中に孤立することなく、都市の構造へと浸透し、街角で自発的な対話を生み出します。工業建築が持つ無機質で骨格的な美しさは、変化、衰退、そして再生というテーマを扱う作品にとって、忘れがたいほど完璧な背景となり、カジュアルな来場者から真摯な研究者に至るまで、人々を魅了する没入型の環境を作り出しています。
シドニー・ビエンナーレを真に際立たせているのは、脱中心化された、包括的な美術史のビジョンに対する揺るぎないコミットメントです。欧州中心主義的な伝統から脱却し、この祭典はアジア太平洋地域をはじめとするアーティストたちの重要な擁護者となり、創造的な交流のグローバルなネットワークを育んできました。この進化は、周縁化された人々の声が舞台の中心へと引き上げられる、より公平な文化的情勢への大きな潮流を反映しています。ここで提供される体験のコレクションは比類なきものであり、以下のような作品群を特徴としています：
マーヴィン・カマラ・ルブンジャによる
鮮やかな水彩画で描かれた、息を呑むようなノーザンテリトリーの風景。そこには先住民の権利と住居の正義を求める深遠な闘いが投影されています。
ホルヘ・ニコルソン・ムーア・バラダスによる
サイケデリックなデジタル・コラージュ。重なり合う色彩と身振り的なリファレンスが、抽象表現主義の生のエネルギーを呼び起こします。
ヘンリー・クームスによる
催眠的な白黒の映画的探求。
I am the Architect
などの作品は、シュルレアリスムと構造を融合させ、芸術と建築の交差点を描き出します。
現代的な躍動感を捉えようとするインテリアデザイナーや、批判的な内省を促す作品を探しているコレクターにとって、ビエンナーレは欠かすことのできない目的地であり続けています。そこは、不都合な真実と向き合い、明日の無限の可能性を構想する作品たちの聖域であり、国際的な現代アート・サーキットにおける礎石となっているのです。
wahooart.com/ja/art/download/ugo-rondinone-primitive-D674DK-en/
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primitive — ugo rondinone
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