| 中文版 English

具体要求

全部
侧面
背面
底部
内部
局部细节
款识
破损处

其它要求

提交申请
关闭
草間彌生 b.1929 創世紀 Yayoi Kusama Genesis
香港 北京时间
2023年04月06日 开拍
拍品描述
複合媒材 雕塑
一九九二年作
款識 YAYOI KUSAMA 1992 創世紀 GENESIS(底部)
來源 2019年3月29日,香港佳士得拍賣會,拍品編號13 現亞洲重要私人藏家直接購自上述來源 附:草間彌生工作室開立之作品登錄卡 火樹銀花的生命奇跡 草間彌生軟雕塑代表作《創世紀》 1993年,草間彌生受邀代表日本參加威尼斯雙年展,展會上其重量級的軟雕塑作品《流星》面世,由60件方框組合的銀色軟雕塑佈滿一整面展牆,散發出撼人的光芒,震撼藝術世界。「軟雕塑」作為草間彌生創作中的重要分支,生發於1960年代藝術家的「紐約時期」:1962年,她利用藝術家好友賈德(Donald Judd)撿拾而來的扶手椅、以床單縫製的無數陽具填充物、高跟鞋,創作出個人首件「軟雕塑」作品《積累No.1》,那充滿陽具的椅子,表達了草間自小對於性的恐懼、女性在社會上所受的壓迫之心理反動。此恰呼應了彼時美國興起的女權運動。而軟雕塑有機、相近的造型,亦象徵藝術家對世界的願景:她視世界為不可分割的整體,當中的物體和生物一直不斷變換、交織,形成了軟雕塑中起伏連綿的視覺景象。 前衛的獨行者:先鋒的藝術觀念 《積累No.1》在完成的同年即參加了紐約先鋒綠藝廊(Green Gallery)的藝術群展,是為草間「軟雕塑」的首次「正式亮相」。同場展出的還有歐登伯格(Claes Oldenburg)、沃荷(Andy Warhol)等人,該展被美國現代美術館策展人霍普曼(Laura Hoptman)譽為「美國歷史上的第一個普普藝術展覽」,對全球當代藝壇影響深遠。而在此展後的半年,歐登伯格才開始創作其軟雕塑裝置,美術史學者普遍認為草間彼時發表的作品恰恰為歐登伯格後續的靈感來源。由此足見草間從創作形式、理念、語彙等均走在時代前沿,從六〇年代至今不斷演進。而其「軟雕塑」作品曾為紐約現代美術館、東京市立現代美術館、香港M+美術館等國際重要機構收藏,不僅成為其個人創作的重要支線,更為在美國興起的「普普藝術」運動的面貌之一。是次春拍,我們帶來與1993年威尼斯雙年展之大型裝置《流星》完成於同年的《創世紀》,作品可被視為《流星》之關鍵母體,重要性不言而喻。 創生的火花,無窮的躍動生命力 在《創世紀》的銀色方盒中,五根長短、大小不一的長形織物自不同方向交織、相會於作品中央。銀彩厚敷的表面令作品反射出科技用品般的光澤。而布料的褶皺與肌理,則恰似歲月痕跡下的人體肌膚。而軟雕塑的主體造型跳脫了過往如在《積累No.1》的陽具,彼時草間的創作經歷與藝術地位均達高度成熟被世界認可之局面,她已然下放內心對於對於性的恐懼、社會性別待遇不平等的反叛與憤怒,在創作中展現一種個人詩意的繪寫及個性化的想像。她在此將物體延展拉長,軟雕塑就如其繪畫中抽象線條的實體再現,在由底部連綿生發的有機造型中,像帶著生命的觸角往外向上下左右四方開展,其間又彼此纏綿,交織出若一個生命的永恆迴圈。作品名為《創世紀》,亦呼應文藝復興大家米開朗基羅(Michelangelo)名畫《創世紀》中的經典一幕——草間雕塑中柔軟起伏、綿延交會的線條,恰似《創世紀》中,亞當與上帝手指交會的那一剎那,點亮了生命的起源,交織出人世的際遇風景,即是火樹銀花般的絕美一瞬,是值得歌頌的生命奇跡。 銀色的消融世界 《創世紀》與草間在威尼斯雙年展展出的《流星》一般,以銀色覆蓋全體。這樣銀色彩的使用最早可見於草間1963年在紐約史坦畫廊(Gertrude Stein Gallery)舉辦的「聚合:千船會」展覽中佈滿陽具的銀色船帆,是草間鍾愛的色彩之一,但實際上銀色彩並不存在於現實的自然世界,而是一個帶著異光、閃爍、特別吸睛的顏色,不僅可吸引觀者的視覺注意力,也能令人更深陷眼前的奇妙幻境。在《創世紀》中,通篇的銀彩,讓作品成為一個既吸睛又在閃爍中消融主體邊界的形象,建構出一個讓觀者視線失去焦點的消融環境。此正呼應藝術家最為雄心的藝術理念,令人的原始意志消融、沉浸於眼前晶瑩而光澤的視覺體驗之中。而當中那聚合離散的條狀物,若能藉不斷變異而自發繁殖,而茁壯成長的有機體,則成為新生與希望的象徵,讓人投入藝術家詩意想像境地的終極歸屬。
Mixed media sculpture
30 × 20 × 10 cm.11 3/4 × 7 7/8 × 3 7/8 in.
Executed in 1992
Signed in English, dated, titled in Japanese and English on the bottom
PROVENANCE 29 Mar 2019, Christie's Hong Kong Auction, Lot 13 Acquired directly by present important private Asian collector from the above This work is accompanied by a registration card issued by Yayoi Kusama studio The Miracle of Life Yayoi Kusama's Soft Sculpture Masterpiece Genesis In 1993, Yayoi Kusama was invited to represent Japan at the Venice Biennale, where her heavyweight soft sculpture Shooting Star was unveiled. 60 boxes of silver soft sculptures filled an entire wall of the exhibition, emitting a striking light that shook the art world. “Soft sculpture” is an important branch of Yayoi Kusama's work that emerged in the 1960s during the artist's “New York period”: in 1962, she created her first soft sculpture Accumulation No. 1, using an armchair found by her artist friend Donald Judd, numerous stuffed dildos sewn from bed sheets, and high heels, expressing Kusama's psychological reaction to her childhood fear of sex and the oppression of women in society. It echoes the feminist movement that was emerging in the United States at the time. The Avant-Garde Loner: Artistic Concepts of Pioneers Accumulation No. 1 was exhibited in a group show at the Green Gallery in New York the same year it was completed, along with Claes Oldenburg's and Andy Warhol's works, marking the first official appearance of Kusama's soft sculptures. The exhibition was hailed by Laura Hoptman, curator of the Museum of Modern Art, as “the first pop art exhibition in American history” and had a profound impact on the global contemporary art scene. It was only six months after this exhibition that Oldenburg began to create his soft sculpture installations, and art historians generally believe that Kusama's works published at that time were the inspiration for Oldenburg's subsequent work. This shows that Kusama was at the forefront of the times in terms of creative form, concept, and vocabulary, which have evolved from the 1960s to the present. Her soft sculptures have been collected by major international institutions such as the Museum of Modern Art in New York, the Museum of Contemporary Art in Tokyo, and the M+ Art Museum in Hong Kong, and have become an important strand of her own creative work, as well as one of the faces of the pop art movement that has emerged in the United States. In this spring auction, we present Genesis, a large-scale installation completed in the same year as the Shooting Star at the 1993 Venice Biennale, which can be regarded as the parent of the Shooting Star. The Spark of Creation, the Infinite Leap of Life In the silver square box of Genesis, five long fabrics of different lengths and sizes intertwine and meet in the centre from different directions. The thick surface of the silver foil makes the work reflect the luster of a technological object. The folds and texture of the fabric resemble the human skin under the traces of age. The main shape of the soft sculpture is a departure from the previous Accumulation No.1, now her creative experience and artistic status had reached a high level of maturity and global recognition, she has already devolved her fear of sex, also the rebellion and anger against the unequal treatment of gender in society into a personal poetic drawing and personalized imagination in her creation. The soft sculpture is like the physical reproduction of abstract lines in her paintings. In the organic shapes that develop from the bottom, they are like the tentacles of life that spread outward to the top, bottom, left, right, and centre, and intertwine with each other to weave an eternal circle of life. The title of the work, Genesis, echoes the classic scene in Michelangelo's famous painting Genesis - the undulating and intertwining lines of the soft sculpture, just like the moment when Adam and God's fingers meet in Genesis, illuminating the origin of life, and also in this work, the landscape of human life. A Silvery Melting World Like Kusama's Shooting Star at the Venice Biennale, Genesis is covered in silver. This use of silver was first seen in Kusama's 1963 exhibition Accumulation: One Thousand Boats Show at the Gertrude Stein Gallery in New York. The sail was covered in silver, which is one of Kusama's favorite colours. It not only attracts the viewer's attention but also draws the viewer deeper into the fantastic illusion. In Genesis, the silver colour throughout the work makes it an eye-catching and shimmering image that dissolves the boundaries of the subject, creating a melting environment that makes the viewer's eyes lose focus. This echoes the artist's most ambitious artistic concept of dissolving the primitive will and immersing the viewer in a lustrous visual experience.

本场其它拍品

  • Lot 31
  • Lot 32
  • Lot 33
  • Lot 34
  • Lot 35
  • Lot 36
  • Lot 37
  • Lot 38
  • Lot 39
  • Lot 40
  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1,000
10,000
2,000 5,000 8,000
100,000
10,000
200,000
20,000 50,000 80,000
1,000,000
100,000
2,000,000
200,000 500,000 800,000
10,000,000
1,000,000
+

流拍

价格信息

拍品估价:450,000 - 650,000 港币 起拍价格:450,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%
服务费:本专场服务费按成交价(含佣金)的1.5%收取,最低200元

拍卖公司

中国嘉德(香港)国际拍卖有限公司
地址: 中国香港金鐘道89號力寶中心一座五樓
电话: 852-28152269
邮编: 10000
向卖家提问