学生作品指南
版权 此作品仍被视为受版权保护。ugo rondinone 出生于 1964，且无记载的逝世日期；版权在艺术家逝世后持续 70 年。此处展示图像仅供课堂参考；相关权利仍归权利人所有。
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primitive — ugo rondinone
阴影：ugo rondinone 的生卒年 (1964–?)
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关于此艺术品
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.
艺术家与博物馆
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.
展出地点 悉尼, 澳大利亚
在澳大利亚最充满活力的城市景观中心，
悉尼双年展
的出现不仅仅是一场展览，更是一种每两年便重新定义全球当代艺术版图的律动脉搏。自 197 向着宏伟蓝图迈进的 1973 年起，由 Franco Belgiorno-Nettis 在标志性的悉尼歌剧院构思并创立，这一艺术盛会已成为激发智力好奇心与文化对话的深远催化剂。不同于那些作为过去之沉默仓库的传统博物馆，双年展是一个鲜活、呼吸着的生命体，它优先关注当下紧迫的对话。在这里，艺术的边界不断被试探，邀请收藏家与艺术爱好者共同见证那些挑战我们对身份、生态和社会正义认知的突破性声音的崛起。
双年展的精髓在于其变革性的策展愿景，它摒弃了永久性的馆藏，转而追求转瞬即逝却力量强大的主题旅程。每一届盛会都是一场与未知精心编排的邂逅，将来自各大洲的作品交织在一起，以应对我们这个时代迫在眉睫的复杂性。对于目光敏锐的鉴赏家和资深收藏家而言，这些展览提供的不仅仅是纯粹的美学愉悦；它们提供了与人类经验肌理的深度、直觉式的参与。人们可能会沉浸在
NIRIN
(2020) 中探索的深邃原住民知识体系里，亦或是在
rīvus
(2024) 展览中追寻互联互通的流动隐喻。而当前的这一届——
Ten Thousand Suns
，则邀请我们进入一个纯粹想象力的领域，展示了该艺术节利用艺术作为重构我们集体未来之工具的独特能力。
双年展的建筑灵魂与其节目安排一样充满动态感，它经常通过对悉尼工业遗产的重新利用来寻找最震撼的表达方式。将
White Bay Power Station（白湾发电厂）
——一座宏伟的工业综合体——转化为广阔的展览空间，这本身就是对艺术节使命的一个惊艳隐喻：为现有的结构与视角注入新的生命。这种对多样化、特定场域空间的战略性运用，确保了艺术从未被孤立在白墙之内，而是渗透进城市肌理，在街头激发出自发的对话。工业建筑那冷峻、骨架式的美感，为那些探讨变革、衰落与重生主题的作品提供了近乎完美的背景，创造出一个令普通游客与严肃学者皆为之沉醉的沉浸式环境。
悉尼双年展真正与众不同之处，在于其对去中心化、包容性艺术史愿景的坚定承诺。通过摆脱以欧洲为中心的传统，该艺术节已成为亚太地区及其他地区艺术家的重要捍卫者，促进了全球性的创意交流网络。这种演变反映了迈向更公平文化景观的宏大运动，在这样的景观中，边缘化的声音被提升到了舞台中央。这里所提供的体验集锦是无与伦比的，其代表性作品包括：
Mervyn Kamara Rubuntja
令人屏息的北领地景观，以生动的水彩呈现，反映了争取原住民权利与住房正义的深远斗争。
Jorge Nicholson Moore Barradas
的迷幻数字拼贴画，其层叠的色彩与手势性的引用唤起了抽象表现主义的原始能量。
Henry Coombes
催眠般的黑白电影式探索，例如
I am the Architect
，它将超现实与结构性融合，以探讨艺术与建筑的交汇点。
对于寻求捕捉当代律动感的室内设计师，或是寻找能引发批判性思考作品的收藏家来说，悉尼双年展始终是一个不可或缺的目的地。它是那些直面不安真相并构想明日无限可能的艺术作品的避风港，使其成为了国际当代艺术版图中一块坚实的基石。
wahooart.com/zh/art/download/ugo-rondinone-primitive-D674DK-en/
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primitive — ugo rondinone
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