摘要
希德布兰特使用的标志性媒介是盒式磁带和黑胶唱片,他将它们拼贴和组装成极简主义式的绘画、雕塑和装置,同时又暗含浪漫主义。无论是绘画还是雕塑,希德布兰特的所有作品都包含了预先录制于材料上的音乐素材,并且在标题中援引这些材料。蕴含其中的流行文化通常源于一首歌曲,意在激发集体和个人回忆。如同模拟存储介质,希德布兰特独特的拷贝技术是对记忆过程本身的隐喻:包括利用双面胶带在画布上涂抹磁性涂层,以描绘复杂而神秘的图案。与此同时,希德布兰特的实践与建筑学上的“整体艺术”(Gesamtkunstwerk)产生关联,他利用碗状压缩模塑唱片堆叠雕塑,通过缠绕的磁带制作墙壁与帘幕,推动着观者在展览中进入一个现实与虚构交叠的中间地带。
His signature media are cassette tape and vinyl,which he collages and assembles into apparently minimalist yet latently romantic paintings,sculptures,and installations.Whether pictorial or sculptural,all of his works contain prerecorded materials,which he references in the titles.These pop-cultural sources,usually a single song,are meant to trigger both collective and personal memories.Like analog storage media,his distinctive rip-off technique is a metaphor for the mnestic process itself:it consists in rubbing magnetic coating against double-sided adhesive tape stuck on canvas to trace intricate and elusive powdery patterns.Further relating to architectural Gesamtkunstwerk,Hildebrandt’s monumental sonic barriers made of stacked,bowl-shaped records and his sensual wall curtains made of unreeled tapes create paths for the visitors of his shows.
作者
本刊编辑部
Editorial Department
出处
《当代美术家》
2022年第5期86-88,共3页
Contemporary Artists
