The Real World | David Zwirner
a detail from a work by  Felix Gonzalez-Torres, called "Untitled", dated 1987.

The Real World

David Zwirner is pleased to present The Real World, a group exhibition that will feature paintings, sculptures, and installations from the 1990s and early 2000s by Felix Gonzalez-Torres, Raymond Pettibon, Jason Rhoades, Diana Thater, Rirkrit Tiravanija, and Lisa Yuskavage. On view at the gallery’s Hong Kong location, the selected works exemplify the groundbreaking and alternative approaches these artists pursued in their respective practices as they emerged as major artistic influences within the New York and Los Angeles art worlds.

Working in a variety of media—from traditional painting and drawing to video and installation— these artists each critically reevaluated the status of their materials and challenged the relationship between art and everyday life by incorporating nontraditional subjects, formats, and ideas into the composition and experience of their work. Responding to growing social concerns that had long been suppressed or overlooked, these artists pioneered approaches to art making that address questions of identity, gender, sexuality, consumerism, and the status of the built and natural environment. Several of the featured artists were among the first to exhibit with David Zwirner, which debuted some of their pioneering and iconic installations and works at the gallery’s original location at 43 Greene Street, New York, which opened its doors in 1993. Presented today against the backdrop of the COVID-19 pandemic, these artists’ engagements with the social dimensions of art—whether in the form of the active participation of the viewer or through the shared language of everyday experiences, objects, and cultural references—feel all the more relevant and necessary.

The exhibition will include Rirkrit Tiravanija’s untitled 1990 (pad thai), which will mark the first presentation of the artist’s work at David Zwirner since the recent announcement that the gallery will be working with him. A seminal and early piece by Tiravanija, and a pivotal moment in the emergence of “relational aesthetics,” untitled 1990 (pad thai) was first presented at the Paula Allen Gallery, New York, in 1990. It was the artist’s first live participatory installation, and involved him preparing and serving food to visitors and then gathering the remnants of the meal as evidence of the event.

 

Read more

 

Image:  Felix Gonzalez-Torres, "Untitled", 1987 (detail)

 

Planning Your Visit

Please note the Hong Kong gallery is open to the public with a limited number of visitors allowed into the exhibition spaces at a time, in accordance with city guidelines.
Advance appointments are recommended but not required.
To schedule your visit, please click here.

 

A live activation of untitled 1990 (pad thai) will be presented on Sunday, May 23, from 12 PM to 3 PM. Registration is now open and can be done via this link

 

卓納畫廊香港空間欣然呈現群展《真實世界》,展出來自藝術家費利克斯·岡薩雷斯-托雷斯(Felix Gonzalez-Torres)、雷蒙德·帕提伯恩(Raymond Pettibon)、傑森·羅德斯(Jason Rhoades)、戴安娜·塔特爾(Diana Thater)、里克利·提拉瓦尼(Rirkrit Tiravanija)和麗莎·約斯卡瓦吉(Lisa Yuskavage)創作於1990年代和2000年代的繪畫、雕塑和裝置作品。這些作品極佳地回溯了二十年前當這些藝術家在紐約與洛杉磯嶄露頭角、成為塑造當地藝術世界的中堅力量之時,他們如何以極具突破、另闢蹊徑的方式,各自追求著獨特的藝術實踐。

這些藝術家以不同的媒介進行創作,從傳統繪畫,到視頻和裝置。通過將非傳統的主題、形式和思想納入到作品的構圖和體驗之中,藝術家們對這些材料進行了批判性的重新評估,挑戰了藝術與日常生活之間的關係。為了回應越來越多長期受到壓迫或忽視的社會問題,這些藝術家開拓了創作的新方式,以探討身份、性別、性、消費主義、建築及自然環境等議題。展覽中的數位藝術家都曾在卓納畫廊自1993年開幕以來的早期即合作展出。在畫廊昔日位於紐約格林街43號的空間中,他們首次展出了自己開拓性的、標誌性的作品。在當下新冠疫情的大背景之下,他們對藝術之社會層面的深刻介入——無論是鼓勵觀眾的積極參與,還是使用日常經驗、物件與文化參考等共通的語言形式——在今天都顯得尤為相關且必不可少。

是次展覽將包括里克利·提拉瓦尼(Rirkrit Tiravanija)的作品《無題1990(泰式炒金邊粉)》,這將是畫廊近期宣布藝術家的加入以來,首次呈現提拉瓦尼的作品。 《無題1990(泰式炒金邊粉)》是提拉瓦尼的重要早期作品,它標誌著「關係美學」(relational aesthetics)興起的重要時刻,於1990年在紐約的寶拉·艾倫畫廊( Paula Allen Gallery)首次展出。這也是藝術家首件涉及現場參與的裝置創作,藝術家會為參觀者準備食物,隨後將剩餘的食物保留下來作為活動的記錄。

預約觀展

根據當地法規,卓納香港需控制公共時段的展廳人數。
我們推薦您提前預約,訪問展覽。
點擊此處,進行預約

 

我們將於星期日5月23日下午12時-3時,舉辦一場《無題1990(泰式炒金邊粉)》的現場活動。敬請通過此鏈接預約出席。

A mixed media installation by Rirkrit Tiravanija, titled untitled 1990 (pad thai), dated 1990.

Rirkrit Tiravanija

untitled 1990 (pad thai), 1990
Mixed media
Overall dimensions variable

 

里克利·提拉瓦尼

《無題 1990(泰式炒金邊粉)》
1990年
綜合材料
總體尺寸可變

 

“I realized that there is a kind of relationship to the audience that I was interested in exploring. So I said I’d do this project, and that ended up being untitled 1990 (pad thai).... We cooked everything.... And then I threw everything into that display case. At the same time, I wanted people to understand that something had happened in this place.”

「這讓我意識到自己想要探索一種藝術與觀眾的關係。所以我就答應了這個項目,最終呈現為作品《無題1990(泰式炒金邊粉)》……我們什麼都煮……然後我就把所有東西都放進了陳列櫃。與此同時,我想讓人們明白這個空間中剛發生了些什麼。」 

—Rirkrit Tiravanija, 2019
——里克利·提拉瓦尼,2019年

 

An installation view of a work by Rirkrit Tiravanija called Untitled 1992 (Free), 1992–2007, at David Zwirner New York, in 2007.

Installation view, Rirkrit Tiravanija, Untitled 1992 (Free), 1992–2007, David Zwirner, New York, 2007
展覽現場,里克利·提拉瓦尼,《無題1992(自由)》,1992-2007年,卓納紐約,2007年

 

Installation view, Rirkrit Tiravanija, Untitled 1992 (Free), 1992–2007, David Zwirner, New York, 2007
展覽現場,里克利·提拉瓦尼,《無題1992(自由)》,1992-2007年,卓納紐約,2007年

 

For Rirkrit Tiravanija (b. 1961)’s first live participatory installation, untitled 1990 (pad thai), the artist prepared and served food to visitors and  gathered the remnants of the meal as evidence of the event.


This work has informed Tiravanija's approach to artmaking ever since, with installations that are about bringing people together.

在里克利·提拉瓦尼(b. 1961)的首件現場參與性裝置作品《無題1990(泰式炒金邊粉)》中,藝術家為到訪者烹飪並提供食物,隨後將餐後剩餘的物品收集起來,作為整場活動發生的見證。

這件作品充分呈現了提拉瓦尼自當時以來的藝術實踐方式,其裝置作品旨在讓人們能歡聚一堂。

A photo of a reenactment of a work by Rirkrit Tiravanija, called untitled 1990 (pad thai), dated 1990.

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

Installation view, Rirkrit Tiravanija, untitled 1990 (pad thai), David Zwirner, Hong Kong, 2021. 展覽現場,里克利·提拉瓦尼,《無題1990(泰式炒金邊粉)》,卓納香港,2021年

“[Lisa Yuskacage’s] paintings are for those of us who are entranced by the intricate ways our fantasies, desires, and memories are both personal and public. And hence we marvel at how Yuskavage’s paintings possess the capacity for transmitting the feelings that course in the veins between our ears and our legs, allowing us to understand, more beautifully, the connection between the two.”

「(麗莎·約斯卡瓦吉的)繪畫是為了那些對我們或個人或共有的幻象、慾望和記憶的錯綜複雜感到著迷的人所創作的。因此,我們也讚嘆約斯卡瓦吉的繪畫何以能夠傳達那些流轉於我們雙耳和雙腿之間的脈動和感受,並允許我們更優美地去理解兩者之間的聯繫。」

—Helen Molesworth, 2020
——海倫·莫爾斯沃斯,2020年

A painting by Lisa Yuskavage, titled Big Marie, dated 1993.

Lisa Yuskavage

Big Marie, 1993
Oil on linen
64 x 50 inches (162.6 x 127 cm)

 

麗莎·約斯卡瓦吉

《大幅瑪麗》
1993年
亞麻布面油畫
162.6 x 127 厘米

 

Lisa Yuskavage (b. 1962) blends traditional and contemporary painterly techniques in works that combine personal, art-historical, and cultural references and feature highly sexualized or erotized subjects rendered in the artist’s distinctive manneristic style. 

Big Marie
belongs to Yuskavage's Babies series, begun in the early 1990s. 
 
麗莎·約斯卡瓦吉(b. 1962)在作品中融合了傳統與當代的繪畫技法,並結合了個人、藝術史與流行文化的參考,以獨特的風格主義手法,渲染出極具性別特徵或情色意涵的人物形象。
 
《大幅瑪麗》出自約斯卡瓦吉始於1990年代早期的《嬰兒》系列。

A detail from a painting by Lisa Yuskavage, titled Big Marie, dated 1993.

Lisa Yuskavage, Big Marie, 1993 (detail). 麗莎·約斯卡瓦吉,《大幅瑪麗》,1993年(細節)

Lisa Yuskavage, Big Marie, 1993 (detail). 麗莎·約斯卡瓦吉,《大幅瑪麗》,1993年(細節)

“More than write it, Pettibon draws and paints with text. Rare exceptions aside, language must come out, like the pictures, in his own hand. Handwriting expresses the timbre, pitch, and mood of voice; font and graphological style capture personality and identity.”

「帕提伯恩不僅僅是寫下文字,而是帶著文本來繪畫。除個別例外,語言文字必須和圖片一樣出自於他的手。他的手寫體表現出了語音的音色、音調和情緒,而文字的字體和書寫風格則精準地捕捉了個性與身份。」

—Sarah Lehrer-Graiwer, 2017
——薩拉·萊勒-格雷韋爾,2017年

Raymond Pettibon

No Title (The bomb only...), 1989
Ink on paper
10 1/4 x 8 1/4 inches (26 x 21 cm)

 

雷蒙德·帕提伯恩

《無題(炸彈……)》
1989年
紙本墨水
26 x 21 厘米

Raymond Pettibon

No Title (Both drunkenness and...), 1988
Acrylic on canvas
48 x 60 inches (121.9 x 152.4 cm)

 

雷蒙德·帕提伯恩

《無題(醉酒和……)》
1988年
布面丙烯
121.9 x 152.4 厘米

 

Raymond Pettibon

No Title (If you wish...), 1992
Ink on paper
11 x 8 1/2 inches (27.9 x 21.6 cm)

 

雷蒙德·帕提伯恩

《無題(如果你希望……)》
1992年
紙本墨水
27.9 x 21.6 厘米

 

Raymond Pettibon (b. 1957) engages a wide spectrum of American iconography pulled from literature, art history, philosophy, religion, politics, sports, and alternative youth culture, among other sources. Intermixing image and text—which he considers vital to his process as the drawn image—Pettibon’s work also references writers such as Marcel Proust and Walt Whitman. Pettibon’s practice recalls eighteenth- and nineteenth-century satire while reinforcing the importance of the medium in the present moment.

雷蒙德·帕提伯恩(b. 1957)雜糅了許多美國標誌性的文化元素,從文學、藝術史、哲學、宗教、政治、體育,到離經叛道的青年文化等等。帕提伯恩的作品將圖像與文字融合在一起——他認為這對他繪畫圖像的創作進程至關重要——而且指涉了諸如馬塞爾·普魯斯特(Marcel Proust)和沃爾特·惠特曼(Walt Whitman)等作家的文字。帕提伯恩的實踐讓人想起18和19世紀的諷刺畫,此外也凸顯了這一媒介在當下的重要性。

Raymond Pettibon

No Title (It is Liberace...), 1990
Ink on paper
14 3/4 x 12 1/2 inches (37.5 x 31.8 cm)

 

雷蒙德·帕提伯恩

《無題(是利伯雷斯他……)》
1990年
紙本墨水
37.5 x 31.8 厘米 

 
An installation view of an exhibition titled  Raymond Pettibon: Here's Your Irony Back (The Big Picture)e, at David Zwirner, New York, in 2007.

Installation view, Raymond Pettibon: Here’s Your Irony Back (The Big Picture), David Zwirner, New York, 2007. 展覽現場,「雷蒙德·帕提伯恩:這是你的反諷(大圖)」,卓納紐約,2007年

Installation view, Raymond Pettibon: Here’s Your Irony Back (The Big Picture), David Zwirner, New York, 2007. 展覽現場,「雷蒙德·帕提伯恩:這是你的反諷(大圖)」,卓納紐約,2007年

An installation view of an exhibition titled  Raymond Pettibon Frenchette, at David Zwirner, Paris, in 2019.

Installation view, Raymond Pettibon: Frenchette, David Zwirner, Paris, 2019. 展覽現場,「雷蒙德·帕提伯恩:弗萊切特」,卓納巴黎,2019

Installation view, Raymond Pettibon: Frenchette, David Zwirner, Paris, 2019. 展覽現場,「雷蒙德·帕提伯恩:弗萊切特」,卓納巴黎,2019

A detail from a work by Raymond Pettibon, titled No Title (Oh! Does it...), dated 1990.

Raymond Pettibon, No Title (Oh! Does it...), 1990 (detail). 雷蒙德·帕提伯恩,《無題(哦!那會……)》,1990(细节)

Raymond Pettibon, No Title (Oh! Does it...), 1990 (detail). 雷蒙德·帕提伯恩,《無題(哦!那會……)》,1990(细节)

Raymond Pettibon

No Title (Oh! Does it...), 1990
Pen and ink on paper
17 1/2 x 11 1/4 inches (44.5 x 28.6 cm)

 

雷蒙德·帕提伯恩

《無題(哦!那會……)》
1990年
紙本鋼筆與墨水
44.5 x 28.6 厘米

Raymond Pettibon

No Title (One of my...), 1993
Ink on paper
13 1/4 x 9 inches (33.7 x 22.9 cm)

 

雷蒙德·帕提伯恩

《無題(我的一個……)》
1993年
紙本墨水
33.7 x 22.9 厘米

 
An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021

Installation view, The Real World, David Zwirner, Hong Kong, 2021

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021

Installation view, The Real World, David Zwirner, Hong Kong, 2021

Felix Gonzalez-Torres (1957–1996) is one of the most significant artists to emerge during the period of the 1980s and early 1990s. In its reduced formal vocabulary, conceptual rigor, and evocative use of everyday materials, the artist's work resonates with meaning that is at once specific and mutable, rigorous and generous, poetic and political.

費利克斯·岡薩雷斯-托雷斯(1957–1996)是1980年代至1990年代初期嶄露頭角的最重要的藝術家之一。他的作品以簡潔的形式為語言,在觀念上精準動人,並且引人深思地運用日常物品,它們與特定而多變、謹小慎微而廣泛普遍、詩意而政治的事物產生著強烈的共鳴。

Light bulbs, plastic light sockets, electrical cord, and a dimmer switch by Felix Gonzalez-Torres, titled "Untitled" (Last Light), dated 1993.

Felix Gonzalez-Torres

"Untitled" (Last Light), 1993
Light bulbs, plastic light sockets, electrical cord, and dimmer switch
Overall dimensions vary with installation

 

費利克斯·岡薩雷斯-托雷斯

《“無題”(最後的燈)》
1993年
燈泡、塑料燈座、電源線、明暗調光開關
總體尺寸隨裝置可變

An installation view of an exhibition titled Trust and Confusion at Tai Kwun Contemporary, Hong kong, in 2021.

Installation view, Trust and Confusion, Tai Kwun Contemporary, Hong Kong, 2021. Photo by Kwan Sheung Chi. 展覽現場,「信任&迷惑」,大館當代美術館,香港,2021年 攝影:Kwan Sheung Chi

Installation view, Trust and Confusion, Tai Kwun Contemporary, Hong Kong, 2021. Photo by Kwan Sheung Chi. 展覽現場,「信任&迷惑」,大館當代美術館,香港,2021年 攝影:Kwan Sheung Chi

An installation view of an exhibition titled Trust and Confusion at Tai Kwun Contemporary, Hong kong, in 2021.

Installation view, Trust and Confusion, Tai Kwun Contemporary, Hong Kong, 2021. Photo by Kwan Sheung Chi. 展覽現場,「信任&迷惑」,大館當代美術館,香港,2021年 攝影:Kwan Sheung Chi

Installation view, Trust and Confusion, Tai Kwun Contemporary, Hong Kong, 2021. Photo by Kwan Sheung Chi. 展覽現場,「信任&迷惑」,大館當代美術館,香港,2021年 攝影:Kwan Sheung Chi

A print on paper with endless copies by Felix Gonzalez-Torres, titled "Untitled" (Ross in L.A.), dated 1991.

Felix Gonzalez-Torres

"Untitled" (Ross in L.A.), 1991
Print on paper, endless copies
Ideal size: 10 inches at ideal height x 29 x 23 inches (ideal paper size)
Original size: 25.5 cm at ideal height x 78.4 x 62 cm (original paper size)

 

費利克斯·岡薩雷斯-托雷斯

《“無題”(在洛杉磯的羅斯)》
1991年
紙本印刷品、數量無限
理想高度:25.4厘米,原印刷品尺寸:61.91 x 78.42 厘米

"Like the minimalist objects that they resemble, Gonzalez-Torres's stacks establish a relationship to the space of the gallery.... The fact that these units are endlessly replaceable pieces of paper, to be taken away by the viewer, with their dispersal sending them into a multitude of new contexts, adds further dimensions to the relationship between the work ... and the context."

「就像極簡主義物件那樣,岡薩雷斯-托雷斯的紙堆與展覽空間建立起了聯繫……這些部件實則是無窮無盡的、可以被替換的紙張,它們可以由觀眾任意拿取,而它們的散佈進一步將作品帶入了更多嶄新的語境,為作品及周圍環境之間的關係平添了更多的維度。」

—Martha Buskirk, 2003
——瑪莎·布斯克爾克,2003年

A c-print jigsaw puzzle in plastic bag by Felix Gonzalez-Torres, titled "Untitled", dated 1987.

Felix Gonzalez-Torres

"Untitled", 1987
C-print jigsaw puzzle in plastic bag
7 1/2 x 9 1/2 inches

 

費利克斯·岡薩雷斯-托雷斯

《“無題”》
1987年
C-print彩色打印遊戲拼圖,存放於塑膠袋中
19.05 x 24.13 厘米

An installation view of works by Felix Gonzalez-Torres at Art Basel Unlimited in 2019.

Installation view, Basel Unlimited, 2019. 展覽現場,巴塞爾藝術博覽會「意象無限」單元,2019年

Installation view, Basel Unlimited, 2019. 展覽現場,巴塞爾藝術博覽會「意象無限」單元,2019年

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021

Installation view, The Real World, David Zwirner, Hong Kong, 2021

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Jason Rhoades (1965-2006) emerged in the 1990s as one of the most formally and conceptually rigorous artists of his time. During his short but prolific career he became known for large-scale sculptural installations incorporating materials inspired by Los Angeles car culture and his upbringing in California, as well as by wider influences that he explored throughout his life. 

Rhoades conceived his works as part of an ongoing project to which objects were continuously added and reassembled in various configurations, revealing the complexities and contradictions of our globalized, interconnected era.

傑森·羅德斯(1965-2006)在1990年代嶄露頭角,是當時在形式和觀念上最嚴格縝密的藝術家之一。在他短暫但高產的職業生涯中,羅德斯憑藉其高度原創的、大尺幅的雕塑裝置廣為人知。這些創作融合了深受洛杉磯汽車文化以及藝術家土生土長的北卡羅來納州鄉村生活之影響的各種媒介,此外還雜糅了他一生都在探索各種更為廣泛的影響因素。
 
羅德斯將自己的創作看成持續項目的一部分,在其中,物件以不同的形式歷經增添、組裝和重組,展露出我們全球化、互聯時代中的複雜性和矛盾性。

A detail from a work by Jason Rhoades, titled Chandelier 39, dated 2006.

Jason Rhoades, Chandelier 39, 2006 (detail). 傑森·羅德斯,《水晶燈39》(細節),2006年

Jason Rhoades, Chandelier 39, 2006 (detail). 傑森·羅德斯,《水晶燈39》(細節),2006年

A sculpture by Jason Rhoades, titled Chandelier 39, dated 2006.

Jason Rhoades

Chandelier 39, 2006
Six (6) neon phrases: La Cucaracha, Futa, Fatarique, La Florecita Higo, Agujero, Pepete; Horse saddle, rifle, decorative musical instrument, club, three (3) 120 V Transformers, GTO cable, silicone end caps, electrical extension cord, 3-outlet adapter, aluminum armature wire, rope, cleat, steel spring link, steel pulley, monofilament fishing line, and microfilament crimps
114 1/8 x 62 7/8 x 43 1/4 inches (290 x 160 x 110 cm)

 

傑森·羅德斯

《水晶燈 39》
2006年
6個霓虹燈短語組:La Cucaracha, Futa, Fatarique, La Florecita Higo, Agujero, Pepete;馬鞍、來福槍、裝飾性樂器、球桿、3個120V變壓器、GTO電纜、矽膠材質電纜終端封蓋、電線延長線、3口適配器、鋁電樞線、繩索、防滑釘、鋼製彈簧連桿、鋼製滑輪、 單絲漁線、微纖絲壓合法連接器
290 x 160 x 110 厘米

Chandelier 39 was originally included in Tijuanatanjierchandelier—one of several significant immersive installations the artist made during the latter part of his career. Rhoades debuted the installation at the Centro de Arte Contemporáneo de Málaga in 2006, and it was then featured at the 2007 Venice Biennale. The title of the installation refers to Tijuana, Mexico, and Tangier, Morocco, two cities 6,000 miles apart, which Rhoades associates through their respective locations at the borders between the so-called developing world and the Euro-American West. 

《水晶燈39》最初是《蒂華納丹吉爾水晶燈》中的一部分——這是藝術家在職業生涯後期創作的幾件重要的沉浸式裝置之一。羅德斯的這件裝置於2006年在馬拉加當代藝術中心首次亮相,隨後在2007年的威尼斯雙年展上展出。裝置作品的標題指涉了兩座城市:墨西哥的蒂華納和摩洛哥的丹吉爾,這兩個社會及文化背景截然不同的地方,相隔6000英里,因其各自在所謂的發展中世界和歐美西方世界邊界處的位置而被羅德斯關聯起來。

An installation view of an exhibition titled Jason rhoades: Meccatuna at David Zwirner, New York, in 2003.

Installation view, Jason Rhoades: Meccatuna, David Zwirner, New York, 2003. 展覽現場,「傑森·羅德斯:麥加吞拿」,卓納紐約,2003

Installation view, Jason Rhoades: Meccatuna, David Zwirner, New York, 2003. 展覽現場,「傑森·羅德斯:麥加吞拿」,卓納紐約,2003

An installation view of an exhibition titled Jason rhoades: Meccatuna at David Zwirner, New York, in 2003.

Installation view, Jason Rhoades: Meccatuna, David Zwirner, New York, 2003. 展覽現場,「傑森·羅德斯:麥加吞拿」,卓納紐約,2003

Installation view, Jason Rhoades: Meccatuna, David Zwirner, New York, 2003. 展覽現場,「傑森·羅德斯:麥加吞拿」,卓納紐約,2003

A sculpture by Jason Rhoades, titled Inner Light, dated 1998.

Jason Rhoades

Inner Light, 1998
Plastic bucket, fluorescent tubing, electrical wiring, and fluorescent light fixture
15 x 12 x 12 inches 38.1 x 30.5 x 30.5 cm

 

傑森·羅德斯

《內置燈》
1998年
塑料桶、螢光燈管、電線、螢光燈具
38.1 x 30.5 x 30.5 厘米

From the very beginning, Rhoades had built sculptures using light..... Later came the chandeliers, unique works that bunched pussy word neons into ridiculously gorgeous, multi-tiered sculptures, structured by wagon wheels or tire rims (playing on the prestige of Venetian glass, Rhoades favored Nissan’s SUV Murano rims), and ornamented with dangly bits—novelty ceramics and trashy souvenirs."

「從一開始,羅德斯就用光線來構造雕塑……後來出現了水晶燈,這些獨特的作品將帶著'陰道'詞彙的霓虹燈納入各種荒誕、多層物件的雕塑之中,由馬車車輪或輪胎輪輞所構成(戲謔地參照了威尼斯玻璃、羅德斯鍾愛的尼桑SUV Murano的輪輞),並且飾以垂墜的部件——各種新奇的陶瓷製品和廉價的紀念品。」

—Ingrid Schaffner, 2014
——英格麗德·沙夫納,2014年

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Since the early 1990s, Los Angeles–based artist Diana Thater (b. 1962) has created pioneering films, videos, and installations exploring the tension between the natural environment and mediated reality, and by extension, between the tamed and the wild. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes nearly abstract works interact with their surroundings to produce an intricate relationship between time and space.

從1990年代早期起,生活於洛杉磯的藝術家戴安娜·塔特爾(b. 1962)開始創作先鋒電影、視頻和裝置作品,她的創作主題是自然環境與經媒介呈現的現實之間的緊張關係,廣義上,也是馴化與野生事物之間的關係。塔特爾的作品對各門學科旁徵博引,包括文學、動物行為學、數學、國際象棋及社會學等,它們耐人尋味,且常常近乎抽象,在與周圍環境的相互作用中產生錯綜複雜的時間及空間關係。

 An installation for 2 projectors, 4 monitors, and 6 media players by Diana Thater, titled The Caucus Race, dated 1998.

Diana Thater

The Caucus Race, 1998
Installation for 2 projectors, 4 monitors, and 6 media players
Overall dimensions variable

 

戴安娜·塔特爾

《無謂的競賽》
1998年
裝置,2台視頻投影器、4台視頻顯示器及6台鐳射影碟機
總體尺寸可變

“Dolphins live vertically, horizontally, and in depth. As humans, we cannot float free in all visible dimensions, but it is possible to think this way… This is the first step toward transforming and opening up consciousness.”

「海豚在垂直、水平和縱深的方向上生活。而作為人,我們無法在所有可見的維度上自由地漂浮,但我們可以這樣進行思考……這正是意識產生轉變、得到開啟的第一步。」


—Diana Thater, 2004
——戴安娜·塔特爾,2004年

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

An installation view of an exhibition titled The Real World at David Zwirner, Hong Kong, in 2021.

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Installation view, The Real World, David Zwirner, Hong Kong, 2021. 展覽現場,「真實世界」,卓納香港,2021年

Inquire about Works in The Real World

A sculpture by Jason Rhoades, titled Chandelier 39, dated 2006.

Jason Rhoades

Chandelier 39, 2006
Six (6) neon phrases: La Cucaracha, Futa, Fatarique, La Florecita Higo, Agujero, Pepete; Horse saddle, rifle, decorative musical instrument, club, three (3) 120 V Transformers, GTO cable, silicone end caps, electrical extension cord, 3-outlet adapter, aluminum armature wire, rope, cleat, steel spring link, steel pulley, monofilament fishing line, and microfilament crimps
114 1/8 x 62 7/8 x 43 1/4 inches (290 x 160 x 110 cm)

 

傑森·羅德斯

《水晶燈 39》
2006年
6個霓虹燈短語組:La Cucaracha, Futa, Fatarique, La Florecita Higo, Agujero, Pepete;馬鞍、來福槍、裝飾性樂器、球桿、3個120V變壓器、GTO電纜、矽膠材質電纜終端封蓋、電線延長線、3口適配器、鋁電樞線、繩索、防滑釘、鋼製彈簧連桿、鋼製滑輪、 單絲漁線、微纖絲壓合法連接器
290 x 160 x 110 厘米

A sculpture by Jason Rhoades, titled Inner Light, dated 1998.

Jason Rhoades

Inner Light, 1998
Plastic bucket, fluorescent tubing, electrical wiring, and fluorescent light fixture
15 x 12 x 12 inches 38.1 x 30.5 x 30.5 cm

 

傑森·羅德斯

《內置燈》
1998年
塑料桶、螢光燈管、電線、螢光燈具
38.1 x 30.5 x 30.5 厘米

 An installation for 2 projectors, 4 monitors, and 6 media players by Diana Thater, titled The Caucus Race, dated 1998.

Diana Thater

The Caucus Race, 1998
Installation for 2 projectors, 4 monitors, and 6 media players
Overall dimensions variable

 

戴安娜·塔特爾

《無謂的競賽》
1998年
裝置,2台視頻投影器、4台視頻顯示器及6台鐳射影碟機
總體尺寸可變

A sculpture by Jason Rhoades, titled Chandelier 32, dated 2006.

Jason Rhoades

Chandelier 32, 2006
Three (3) neon phrases: Muffin, Low Country, Machine; Metal candle-light chandelier, decorative felt hat, five (5) dreamcatchers, three (3) miniature dreamcatchers, glass and lead horse, leather camel with porcelain dolphin, truck nuts, leather purse with animal hair, glass star ornament, basket with bronze mirror, wood cup holder, two (2) 120 V Transformers, GTO cable, silicone end caps, electrical extension cord, 3-outlet adapter, aluminum armature wire, rope, cleat, steel spring link, steel pulley, monofilament fishing line, and microfilament crimps
92 x 45 x 41 inches (233.7 x 114.3 x 104.1 cm)

 

傑森·羅德斯

《水晶燈 32》
2006年
3個霓虹燈短語組:Muffin, Low Country, Machine;金屬材質燭光枝形吊燈、裝飾氈帽、5個捕夢網、3個微型捕夢網、玻璃和鉛質馬、附帶瓷質海豚的皮製駱駝、卡車螺母、帶著動物毛髮的皮質錢包、玻璃材質星星形狀飾品、附帶古銅鏡子的籃子、木質杯架、2個120V變壓器、GTO電纜、矽膠材質電纜終端封蓋、電線延長線、3口適配器、鋁電樞線、繩索、防滑釘、鋼製彈簧連桿、鋼製滑輪、 單絲漁線、微纖絲壓合法連接器
233.7 x 114.3 x 104.1 厘米

A c-print jigsaw puzzle in plastic bag by Felix Gonzalez-Torres, titled "Untitled", dated 1987.

Felix Gonzalez-Torres

"Untitled", 1987
C-print jigsaw puzzle in plastic bag
7 1/2 x 9 1/2 inches

 

費利克斯·岡薩雷斯-托雷斯

《“無題”》
1987年
C-print彩色打印遊戲拼圖,存放於塑膠袋中
19.05 x 24.13 厘米

A c-print jigsaw puzzle in plastic bag by Felix Gonzalez-Torres, titled "Untitled" (1980-1992), dated 1991.

Felix Gonzalez-Torres

"Untitled" (1980-1992), 1991
C-print jigsaw puzzle in plastic bag
10 1/2 x 13 1/2 inches

 

費利克斯·岡薩雷斯-托雷斯

《“無題”(1980-1992)》
1991年
C-print彩色打印遊戲拼圖,存放於塑膠袋中
26.67 x 34.29 厘米

A c-print jigsaw puzzle in plastic bag by Felix Gonzalez-Torres, titled "Untitled" (David Souter's Home), dated 1991.

Felix Gonzalez-Torres

"Untitled" (David Souter's Home), 1991
C-print jigsaw puzzle in plastic bag
10 1/2 x 13 1/2 inches

 

費利克斯·岡薩雷斯-托雷斯

《“無題”(戴維·蘇特故居)》
1991年
C-print彩色打印遊戲拼圖,存放於塑膠袋中
26.67 x 34.29 厘米

 
Light bulbs, plastic light sockets, electrical cord, and a dimmer switch by Felix Gonzalez-Torres, titled "Untitled" (Last Light), dated 1993.

Felix Gonzalez-Torres

"Untitled" (Last Light), 1993
Light bulbs, plastic light sockets, electrical cord, and dimmer switch
Overall dimensions vary with installation

 

費利克斯·岡薩雷斯-托雷斯

《“無題”(最後的燈)》
1993年
燈泡、塑料燈座、電源線、明暗調光開關
總體尺寸隨裝置可變

A print on paper with endless copies by Felix Gonzalez-Torres, titled "Untitled" (Ross in L.A.), dated 1991.

Felix Gonzalez-Torres

"Untitled" (Ross in L.A.), 1991
Print on paper, endless copies
Ideal size: 10 inches at ideal height x 29 x 23 inches (ideal paper size)
Original size: 25.5 cm at ideal height x 78.4 x 62 cm (original paper size)

 

費利克斯·岡薩雷斯-托雷斯

《“無題”(在洛杉磯的羅斯)》
1991年
紙本印刷品、數量無限
理想高度:25.4厘米,原印刷品尺寸:61.91 x 78.42 厘米

Raymond Pettibon

No Title (The bomb only...), 1989
Ink on paper
10 1/4 x 8 1/4 inches (26 x 21 cm)

 

雷蒙德·帕提伯恩

《無題(炸彈……)》
1989年
紙本墨水
26 x 21 厘米

Raymond Pettibon

No Title (God preserve and...), 1997
Pen and ink on paper
11 x 15 inches (27.9 x 38.1 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(上帝保佑並且……)》
1997年
紙本鋼筆及墨水
27.9 x 38.1 厘米

Raymond Pettibon

No Title (And look at...), 1997
Pen and ink on paper
30 x 22 1/2 inches (76.2 x 57.2 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(看着……)》
1997年
紙本鋼筆及墨水
76.2 x 57.2 厘米

Raymond Pettibon

No Title (My sisters married...), 1998
Ink on paper
10 x 12 1/2 inches (25.4 x 31.8 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(我的姐妹結婚了……)》
1998年
紙本墨水
25.4 x 31.8 厘米

 

Raymond Pettibon

No Title (Or even if...), 1998
Pen and ink on paper
15 x 11 1/4 inches (38.1 x 28.6 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(或者甚至如果……)》
1998年
紙本鋼筆及墨水
38.1 x 28.6 厘米

Raymond Pettibon

No Title (Not so long...), 1992
Pen and ink on paper
14 x 11 inches (35.6 x 27.9 cm)

 

雷蒙德·帕提伯恩

《無題(沒有那麼久……)》
1992年
紙本鋼筆及墨水
35.6 x 27.9 厘米

Raymond Pettibon

No Title (More spit in...), 1992
Ink on paper
18 1/2 x 17 inches (47 x 43.2 cm)
$Additional Caption$

 

雷蒙德·帕提伯恩

《無題(更多唾沫……)》
1992年
紙本墨水
作品尺寸:47 x 43.2 厘米
裝裱尺寸:50.8 x 47 x 3.2 厘米

Raymond Pettibon

No Title (I must confess...), 1998
Pen and ink on paper
10 3/4 x 9 1/4 inches (27.3 x 23.5 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(我必須供認……)》
1998年
紙本鋼筆及墨水
27.3 x 23.5 厘米

Raymond Pettibon

No Title (And how go...), 1992
Ink on paper
22 x 17 inches (55.9 x 43.2 cm)

 

雷蒙德·帕提伯恩

《無題(曾經有些地方……)》
1989年
紙本墨水
44.5 x 28.6 厘米

Raymond Pettibon

No Title (CCCP Sputnik cosmo...), 1990
Acrylic on panel
26 x 24 1/8 inches (66 x 61.3 cm)
Framed: 27 5/8 x 26 inches (70.2 x 66 cm)
$Additional Caption$

 

雷蒙德·帕提伯恩

《無題(CCCP 人造地球衛星 宇宙……)》
1990年
畫板上丙烯
作品尺寸:66 x 61.3 厘米
裝裱尺寸:70.2 x 66 x 6.4 厘米

Raymond Pettibon

No Title (He understands the...), 1992
Ink on paper
12 x 9 inches (30.5 x 22.9 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(他理解……)》
1992年
紙本墨水
30.5 x 22.9 厘米

Raymond Pettibon

No Title (They are the...), 1998
Ink on paper
8 x 11 inches (20.3 x 27.9 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(他們是……)》
1998年
紙本墨水
20.3 x 27.9 厘米

Raymond Pettibon

No Title (Some days one...), 1996-2006
Ink on paper
30 x 22 inches (76.2 x 55.9 cm)
$Additional Caption$

 

雷蒙德·帕提伯恩

《無題(有時候,一個人……)》
1996-2006年
紙本墨水
76.2 x 55.9 厘米

Raymond Pettibon

No Title (It helps being...), 1987
Pen and ink on paper
8 x 12 3/4 inches (20.3 x 32.4 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(它有助於……)》
1987年
紙本鋼筆及墨水
20.3 x 32.4 厘米

Raymond Pettibon

No Title (By way of...), 1995
Ink on paper
18 x 12 1/2 inches (45.7 x 31.8 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(通過……的方式)》
1995年
紙本墨水
45.7 x 31.8 厘米

Raymond Pettibon

No Title (Heckle-n-Jeckle...), 1992
Ink on paper
30 x 22 inches (76.2 x 55.9 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(赫克爾與傑克爾……)》
1992年
紙本墨水
76.2 x 55.9 厘米

Raymond Pettibon

No Title (It is not...), 1999
Ink on paper
16 x 22 inches (40.6 x 55.9 cm)
Signed and dated verso

雷蒙德·帕提伯恩

《無題(他不會出現……)》
1999年
紙本墨水
40.6 x 55.9 厘米

Raymond Pettibon

No Title (Did she or...), 1990
Ink on paper
22 1/2 x 17 1/2 inches (57.2 x 44.5 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(她曾經是否……)》
1990年
紙本墨水
57.2 x 44.5 厘米

Raymond Pettibon

No Title (Happy is it...), 1999
Ink on paper
14 x 10 1/4 inches (35.6 x 26 cm)

 

雷蒙德·帕提伯恩

《無題(高興的是……)》
1999年
紙本墨水
35.6 x 26.0 厘米

Raymond Pettibon

No Title (Talking sets, Elvis!...), 1999
Watercolor and ink on paper
11 1/4 x 17 inches (28.6 x 43.2 cm)
Framed: 14 1/4 x 19 3/4 inches (36.2 x 50.2 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(說話的場景,艾維斯!……)》
1999年
紙本水彩及墨水
裝裱尺寸:36.2 x 50.2 x 3.8 厘米
紙本尺寸:28.6 x 43.2 厘米

Raymond Pettibon

No Title (What's up thought...), 1991
Pen and ink on paper
15 1/2 x 9 1/2 inches (39.4 x 24.1 cm)

 

雷蒙德·帕提伯恩

《無題(怎麼了?覺得……)》
1991年
紙本鋼筆及墨水
39.4 x 24.1 厘米

Raymond Pettibon

No Title (Overcast. A change...), 1995
Ink on paper
30 x 22 inches (76.2 x 55.9 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(陰雲密布,改變……)》
1995年
紙本墨水
76.2 x 55.9 厘米

Raymond Pettibon

No Title (Both drunkenness and...), 1988
Acrylic on canvas
48 x 60 inches (121.9 x 152.4 cm)

 

雷蒙德·帕提伯恩

《無題(醉酒和……)》
1988年
布面丙烯
121.9 x 152.4 厘米

 

Raymond Pettibon

No Title (That will give...), 1996
Ink on paper
11 1/4 x 29 1/2 inches (28.6 x 74.9 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(那將會……)》
1996年
紙本墨水
28.6 x 74.9 厘米

Raymond Pettibon

No Title (Yes on my...), 1999
Ink on paper
12 3/4 x 10 inches (32.4 x 25.4 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(是的,在我的…之上)》
1999年
紙本墨水
32.4 x 25.4 厘米

Raymond Pettibon

No Title (First mother and...), 1987
Pen and ink on paper
14 x 11 inches (35.6 x 27.9 cm)

 

雷蒙德·帕提伯恩

《無題(先是母親和……)》
1987年
紙本鋼筆及墨水
35.6 x 27.9 厘米

Raymond Pettibon

No Title (I followed my...), 1992
Ink on paper
18 x 12 inches (45.7 x 30.5 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(我追隨自己的……)》
1992年
紙本墨水
45.7 x 30.5 厘米

Raymond Pettibon

No Title (If you wish...), 1992
Ink on paper
11 x 8 1/2 inches (27.9 x 21.6 cm)

 

雷蒙德·帕提伯恩

《無題(如果你希望……)》
1992年
紙本墨水
27.9 x 21.6 厘米

 

Raymond Pettibon

No Title (After a little...), 1998
Ink on paper
11 x 9 1/8 inches (27.9 x 23.2 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(在一點點…之後)》
1998年
紙本墨水
27.9 x 23.2 厘米

Raymond Pettibon

No Title (One of my...), 1993
Ink on paper
13 1/4 x 9 inches (33.7 x 22.9 cm)

 

雷蒙德·帕提伯恩

《無題(我的一個……)》
1993年
紙本墨水
33.7 x 22.9 厘米

 

Raymond Pettibon

No title (Raised up from...), 1998
Ink on paper
22 1/8 x 29 5/8 inches (56.2 x 75.2 cm)
Framed: 25 x 32 1/2 inches (63.5 x 82.6 cm)

 

雷蒙德·帕提伯恩

《無題(升高……)》
1998年
紙本墨水
作品尺寸:56.2 x 75.2 厘米
裝裱尺寸:63.5 x 82.6 x 3.8 厘米

 

Raymond Pettibon

No Title (Vavoom. Nicknaming every...), 1993
Ink on paper
11 x 9 inches (27.9 x 22.9 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(嘭。給每一個…起外號)》
1993年
紙本墨水
27.9 x 22.9 厘米

 

Raymond Pettibon

No Title (Oh! Does it...), 1990
Pen and ink on paper
17 1/2 x 11 1/4 inches (44.5 x 28.6 cm)

 

雷蒙德·帕提伯恩

《無題(哦!那會……)》
1990年
紙本鋼筆與墨水
44.5 x 28.6 厘米

Raymond Pettibon

No title (The son sessions...), 1989
Pen and ink on paper
11 x 14 inches (27.9 x 35.6 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(兒子的時期……)》
1989年
紙本鋼筆及墨水
27.9 x 35.6 厘米

Raymond Pettibon

No Title (The ropes. Learning...), 1990
Pen and ink on paper
11 x 14 inches (27.9 x 35.6 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(繩子。學着……)》
1990年
紙本鋼筆及墨水
27.9 x 35.6 厘米

Raymond Pettibon

No Title (He chooses what...), 1990
Pen and ink on paper
17 1/2 x 11 1/4 inches (44.5 x 28.6 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(他選擇的是……)》
1990年
紙本鋼筆及墨水
44.5 x 28.6 厘米

Raymond Pettibon

No Title (It is Liberace...), 1990
Ink on paper
14 3/4 x 12 1/2 inches (37.5 x 31.8 cm)

 

雷蒙德·帕提伯恩

《無題(是利伯雷斯他……)》
1990年
紙本墨水
37.5 x 31.8 厘米 

 

Raymond Pettibon

No Title (For a long...), 1999
Ink on paper
12 3/4 x 19 3/4 inches (32.4 x 50.2 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(很長一段時間……)》
1999年
紙本墨水
32.4 x 50.2 厘米

Raymond Pettibon

No Title (You're showing...), 1998
Pen and ink on paper
11 1/4 x 7 1/2 inches (28.6 x 19.1 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(你在展示……)》
1998年
紙本鋼筆及墨水
28.6 x 19.1 厘米

Raymond Pettibon

No Title (And how go...), 1992
Ink on paper
22 x 17 inches (55.9 x 43.2 cm)

 

雷蒙德·帕提伯恩

《無題(那麼如何……)》
1992年
紙本墨水
55.9 x 43.2 厘米
背面簽名及日期

Raymond Pettibon

No Title (No psalmtimes these...), 1991
Ink on paper
15 1/2 x 10 1/2 inches (39.4 x 26.7 cm)
Signed and dated verso

 

雷蒙德·帕提伯恩

《無題(沒有詩篇的這些……)》
1991年
紙本墨水
39.4 x 26.7 厘米

A mixed media installation by Rirkrit Tiravanija, titled untitled 1990 (pad thai), dated 1990.

Rirkrit Tiravanija

untitled 1990 (pad thai), 1990
Mixed media
Overall dimensions variable

 

里克利·提拉瓦尼

《無題 1990(泰式炒金邊粉)》
1990年
綜合材料
總體尺寸可變

A painting by Lisa Yuskavage, titled Big Marie, dated 1993.

Lisa Yuskavage

Big Marie, 1993
Oil on linen
64 x 50 inches (162.6 x 127 cm)

 

麗莎·約斯卡瓦吉

《大幅瑪麗》
1993年
亞麻布面油畫
162.6 x 127 厘米

 

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