TATE BRITAIN
18 May – 16 October 2022
Tate Britain presents the first major survey of Cornelia Parker’s works held in London. One of Britain’s leading contemporary artists, Parker is responsible for some of the most unique and unforgettable artworks of the past thirty years. Driven by curiosity, Parker transforms seemingly everyday objects into extraordinary works of art. Through visual allusions and metaphors, Parker’s works explore contemporary issues such as violence, human rights and environmental disaster. The exhibition brings together over 90 artworks spanning immersive installations, sculptures, film, photography and drawing, to celebrate the breadth of Parker’s highly experimental and wide-ranging practice to date.
Cornelia Parker first came to prominence in the late 1980s creating large-scale suspended installations and sculptures which have captivated audiences around the world ever since. This exhibition includes several of her best-known early works including Thirty Pieces of Silver 1988-89, an installation of flattened silver objects including teapots, candle sticks and dinnerware collected from charity shops and car boot sales; and Cold Dark Matter: An Exploded View 1991, a garden shed frozen at the moment of explosion, its fragments surrounding a single lightbulb. Examples of Parker’s more recent room-sized works are included, such as War Room 2015, created from the reams of perforated red paper negatives left over from the production of British Legion remembrance poppies, and Magna Carta (An Embroidery) 2015, a thirteen-metre long collectively hand-sewn embroidery of a Wikipedia page, which involved over 200 volunteers including public figures, human rights lawyers, politicians and prisoners.
Parker has created two new works especially for the exhibition, including the new six-minute video FLAG 2022, which shows the creation of a Union Jack in reverse against the backdrop of the hymn Jerusalem. The exhibition culminates with Island 2022, Parker’s major new sculptural installation comprising a greenhouse painted in white chalk from the cliffs of Dover. The glass frame stands atop Victorian encaustic floor tiles salvaged from the Palace of Westminster, and is illuminated by a suspended light bulb, pulsating slowly, casting dramatic shadows around the gallery.
The exhibition spotlights Parker’s hugely inventive works on paper, including drawings, photographs and prints, as well as her more intimate sculptural objects. Highlights include the Avoided Object 1999 photographs of clouds, taken on a camera once owned by an Auschwitz commandant; and the inkblot Pornographic Drawings 1995-2006, created from dissolved video tapes confiscated by HM Customs and Excise.
Politics is a key theme in many of the artist’s works, and in 2017 Parker was the first woman to be appointed official artist for the General Election. In this role, she observed the election campaign leading up to the 8 June vote, meeting with politicians, campaigners and voters and producing artworks in response. Several films made during this period are shown in a cinema room within the exhibition, including Left Right & Centre 2018, filmed by a drone at night in the House of Commons; and Election Abstract 2018, a documentation of Parker’s observations during the campaign, posted on her Instagram account. Other film works include Made in Bethlehem 2012-13, depicting a Palestinian father and son as they weave thousands of barbed crowns ahead of the influx of Easter pilgrims, and Chomskian Abstract.
2007, an interview with the American social critic and philosopher Noam Chomsky about the entwined relationship between ecological disaster and capitalism.Several of Parker’s artworks including sculptures, textile-based works and video, spill out beyond the confines of the exhibition and into Tate Britain’s collection galleries, presented alongside the historical works they reference. Room for Margins 1998, an installation of the stained canvas linings and tacking edges of Turner paintings (removed by Tate conservators after a flood in 1928) are hung in the dedicated Turner galleries at Tate Britain. The Distance (A Kiss with String Attached), 2003, Parker’s provocative dialogue with Rodin’s famous Kiss, greets visitors on arrival in the Manton Foyer.
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- The Distance （Kiss with String Attached）
泰特英國美術館
2022年5月18日至10月16日
泰特英國美術館為科妮莉亞·帕克舉辦了其第一次最有份量的回顧展。作爲英國領先的當代藝術家之一，帕克負責過去三十年來一些最獨特和最難忘的藝術品。在好奇心的驅使下，帕克將看似日常物品變成了非凡的藝術品。通過視覺典故和隱喻，帕克的作品探索了暴力、人權和環境災難等當代問題。該展覽匯集了90多件藝術品，涵蓋了沉浸式裝置、雕塑、電影、攝影和繪畫，以紀念帕克迄今爲止高度實驗性和廣泛實踐的廣度。
科妮莉亞·帕克在20世紀80年代末首次出名，創作了大規模的懸掛裝置和雕塑，從那以後，這些裝置和雕塑吸引了世界各地的觀衆。這次展覽包括她最著名的幾部早期作品，包括1988-89年的《三十件銀 Thirty Pieces of Silver》，從慈善商店和汽車靴銷售中收集的扁平銀器皿，包括茶壺、蠟燭棒和餐具；以及1991年冷暗物質：爆炸景觀，一個在爆炸時結冰的花園棚，其碎片圍繞着一個燈泡。包括帕克最近房間大小的作品的例子，例如2015年的《戰爭室 War Room》，這些作品是由英國軍團紀唸罌粟花留下的成串穿孔紅紙底片創建的，以及2015年的《大憲章（刺繡） Magna Carta (An Embroidery)》，這是維基百科頁麵的13米長的集體手工刺繡，涉及200多名誌願者，包括公衆人物、人權律師、政治家和囚犯。
帕克專門爲展覽創作了兩部新作品，包括新的六分鐘視頻 《旗幟 FLAG》2022年，該視頻展示了在耶路撒冷讚美詩的背景下反向創作的英國國旗。展覽的高潮是 《島嶼 Island》2022，帕克的主要新雕塑裝置包括多佛懸崖上用白色粉筆畫的溫室。玻璃框架矗立在從威斯敏斯特宮打撈出來的維多利亞時代腐蝕性地磚上，由懸掛的燈泡照亮，緩慢跳動，在畫廊週圍投下戲劇性的陰影。
展覽聚焦了帕克在紙上極具創造力的作品，包括素描、照片和印刷品，以及她更親密的雕塑作品。亮點包括1999年《避免的對象 Avoided Object》的雲彩照片，這些照片曾由奧斯威辛指揮官擁有的相機拍攝；以及1995-2006年由英國海關總署沒收的已解散錄像帶製作的不計時色情圖紙。
政治是這位藝術家許多作品中的一個關鍵主題，2017年，帕克是第一位被任命爲大選官方藝術家的女性。在這個角色中，她觀察了6月8日投票前的競選活動，會見了政治家、活動家和選民，並製作了藝術品作爲回應。在此期間拍攝的幾部電影在展覽的電影院放映，包括2018年由無人機夜間在下議院拍攝的《左右與中心 Left Right & Centre》；以及帕克在競選期間觀察的記錄《選舉摘要 Election Abstract》2018年，髮佈在她的Instagram帳戶上。其他電影作品包括2012-13年的《伯利恆製造 Made in Bethlehem》，描繪了一名巴勒斯坦父親和兒子在複活節朝聖者湧入之前編織數千頂帶刺的王冠，以及《Chomskian Abstract》 喬姆斯基文摘要。
2007年，接受美國社會評論家和哲學家諾姆·喬姆斯基關於生態災難和資本主義之間交織關繫的採訪。
帕克的幾件藝術品，包括雕塑、紡織品作品和視頻，溢出展覽範圍，並排入泰特英國的收藏畫廊，與他們參考的曆史作品一起展出。1998年的《邊緣空間 Room for Margins》是特納繪畫（1928年洪水後由泰特保護者移除）的彩色帆佈襯裡和粘貼邊緣的裝置懸掛在泰特英國的專用特納畫廊中。《距離（一個吻與附加後果）The Distance (A Kiss with String Attached)》創作於2003，帕克與羅丹著名的吻的挑釁性對話，在抵達曼頓門廳時向遊客緻意。
Edited by Shannon
編輯 x 王昱雯
