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Living Pictures: Dragging the Home into the Gallery

机译:生活图片:将房屋拖入画廊

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This article examines the impact of the transposition of spaces understood as private in the public space of the gallery, using two projects at the intersection of art and architecture. The first, Mark Robbins's Households (2003-6), documents living spaces through a photographic exhibition and catalog. In its concept and formal resolution, Households questions popular assumptions about the relation between dwelling and dweller and the public meanings of these spaces. Robbins's work is compared to artists Elmgreen & Dragset's The Collectors, their large-scale installation for the 2009 Venice Biennale that transforms gallery pavilions into two fictitious domestic spaces for a family and a bachelor. By offering visits of unoccupied "lived" spaces, the artists question what is family space and confuse accepted symbols of domesticity by putting them out of context and blurring the usual limits between private and public acts and spaces. Both projects underline the performativity of space, but also highlight the difficulties of transferring these critiques in lived spaces, as the design of Elmgreen & Dragset's own house-studio shows.
机译:本文使用艺术和建筑相交处的两个项目,考察了在画廊的公共空间中被理解为私人空间的转换的影响。第一个是马克·罗宾斯(Mark Robbins)的《住户》(Houses)(2003-6),通过摄影展览和目录记录了居住空间。在其概念和形式解析中,Households质疑关于住宅与居民之间关系以及这些空间的公共含义的流行假设。罗宾斯的作品与艺术家Elmgreen&Dragset的作品《 The Collectors》进行了比较,后者是2009年威尼斯双年展的大型装置,将画廊的展馆变成了两个虚构的家庭和单身汉家庭空间。通过提供对闲置“居住”空间的访问,艺术家质疑什么是家庭空间,并通过使它们脱离上下文并模糊私人和公共行为与空间之间通常的界限来混淆公认的家庭象征。正如Elmgreen&Dragset自己的房屋工作室的设计所示,这两个项目都强调了空间的性能,但也突出了在居住空间中传递这些评论的困难。

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