在为闭馆做准备工作的过程中,MoMA已经拆除了位于四层的永久馆藏展厅,并且重新布置了五层的一些展厅,预示一些变化即将来到。浏览这些留下来的展品,就好像在进行一场茶叶占卜似的,我们可以借此机会好好思考一下MoMA的过去、现在和未来, 以及最重要的——它正面临的那些挑战。
Even before you enter the fifth-floor galleries, there are gestures large and small to consider. In mid-April, with less than two months to shutdown, MoMA went to the trouble of installing Jennifer Bartlett's 1975-76 magnum opus, "Rhapsody," in the atrium. A preparator's nightmare in the form of 987 12-inch steel tiles that perfectly fit the long walls of that yawning space, this jubilant battle of artistic styles and mindset covers stark geometric abstraction, paint-by-numbers realism and everything in between. It looks ever more prescient and in some ways exemplifies the pluralism that MoMA needs to aim for in its next life.
就算还没进入五层画廊,大大小小的暗示也已经早就随处可见了。在四月中旬,还有不到两个月就要闭馆的时候,MoMA在试图将詹妮弗·巴特莱特(Jennifer Bartlett)创作于1975至76年的巨作《狂想曲》(“Rhapsody”)安装在中庭时遇到了麻烦。将987片12英寸的铁片完美地嵌入那个巨大空间长长的墙壁上,堪称布展者的噩梦。这是一场艺术风格与思维模式的欢快较量,涵盖了鲜明的几何抽象主义、数字绘画现实主义以及方方面面。它看起来是如此具有预示性,并且某种程度上展现了MoMA在转世新生后需要关注的多元主义。
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