Solomon R. Guggenheim Museum

了解艺术家萨拉·施，以及她的作品如何与博物馆的空间相互交织。 Transcript Sarah Sze: 我叫萨拉·施，是一名艺术家。 这个展览中的时间线索很有趣；这里既有我很早期的作品，也有我很后期的作品，中间还穿插着许多新作。它展示了贯穿于我作品中的一条主线，但也揭示了这条主线如何与我脑海中的数字、模拟、实物和影像一样，在我的作品中变得越来越融合、混淆。 有时，您会记不清是在线上还是线下认识某人。您会记不清是否在现实中...

Join artist Sarah Sze as she talks about her intricate multimedia work in the Guggenheim’s collection. Transcript Sarah Sze: "Timekeeper" is the first in a series of what I would call the "Timekeeper" series, where the projector itself became kind of like a sculpture. And the sculpture took over the walls of the space and made the space itself almost into a planetarium. And when you walked in, you...

Join artist Sarah Sze as she talks about some of her newly-created works on view on the top level of the rotunda. Transcript Sarah Sze: In the Rotunda pool, there’s a pendulum that leads you—literally, a lure to lead you to the next stage, all the way up to the top ring. There’s a tightrope across to a bay directly across from the point where the pendulum comes up, and then it comes down into anot...

Join artist Sarah Sze as she talks about her first work to incorporate video in the Guggenheim’s collection. Transcript Sarah Sze: "Media Lab" was made in the ’90s, and it was the first video I’d ever done with sculpture and mixed the two. And it was shown in 1997 in Manifesta, in Luxembourg. And it was showed in their media lab, so that’s why it’s called "Media Lab". The idea was it had all of it...

Join artist Sarah Sze as she talks about the site-specific installation in the rotunda fountain. Transcript Sarah Sze: I mean, one of the most amazing things, obviously, of this building is standing in the Rotunda. And this incredible negative space that is actually larger than the positive space, right? But one of the things that’s very fragile and amazing about it is this human-size pool. And wh...

Join artist Sarah Sze as she talks about the artwork projected on the museum’s facade and street level. Transcript Sarah Sze: This kind of river of images that goes through the piece—it really starts on the outside of the building. So, at the ground level, they’re all sort of this idea of found images that you could find anytime you go online. So there’s this like real diversity of images in terms...

Meet artist Sarah Sze, and learn more about the ways her work intersects with the museum’s architecture in this exhibition. Transcript Sarah Sze: My name is Sarah Sze. I’m an artist. So time is interesting in this show in that you have the very early piece of mine, a very late piece of mine, and then all new work in between. And it shows this thread in my own work but also shows this thread, I thi...

Access a slow-looking exercise related to this work. Transcript Marilee Talkington: This work created by Gego around 1987 is titled "Sin título," or "Untitled." A cream-colored and vertically oriented rectangular weaving, created with a mixture of thread and rope, hangs flush to the white wall behind it. This small, unconventional tapestry is approximately six-and-a-half feet square, and about an...

Access a slow-looking exercise related to these photographs. Transcript Marilee Talkington: Time is captured and collaged in a gallery installation featuring black-and-white vinyl photograph reproductions that are placed directly on the wall in an asymmetrical grouping. The images show Gego’s large-scale environmental installation titled "Reticulárea," loosely translating to “area of nets” in Span...

Access a slow-looking exercise related to this work. Transcript Marilee Talkington: This work by Gego from 1966 is titled "Litografia plegada," or "Folded Lithograph." It is a horizontally oriented accordion book about eight inches tall that opens and stretches about eight feet left to right. The folds of the pages are uneven and zigzagging. Peaks and valleys disrupt the viewer’s expectation of th...

Access a slow-looking exercise related to this work. Transcript Marilee Talkington: This work by Gego, titled "Sphere," from 1959, is a spherical structure made of various semicircular panels affixed together, each composed of linear rods made of painted brass and steel. The metal lines of the work crisscross over one another to create an optical effect of motion as the viewer’s position changes i...

Access a slow-looking exercise related to this work. Transcript Marilee Talkington: This work by Gego from 1960 is titled "Movimiento dinámico," or "Dynamic Movement." In this small black-and-white etching, about 15 inches tall by 12 inches wide, the artist has carefully crafted layers of thin lines that generate an optical effect of motion in an abstract composition. In the background, the artist...

Access a slow-looking exercise related to this work. Transcript Marilee Talkington: In "Columna (Reticularea cuadrada)," this sculpture made by Gego in 1972, several layers of large square wire-mesh sheets are loosely stacked and suspended, one following the other to create a rectangular, column-like structure. Combined with gravity and negative space, they come together to create a vertically ori...

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉讨论格戈在后期作品中对线条、空间和形态的探究。 Transcript Pablo León de la Barra: 在70年代末和80年代初，格戈创造了她最大规模的作品系列之一，《无纸素描》。 Geaninne Guimaraes: 从1976年到1988年，格戈用了12年的时间创作，这是她持续时间最长的作品系列之一。 Pablo León de la Barra: 她挑战素描的定义。素描不再需要纸，不再需要铅笔，不再需要碳条。它不再...

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉谈论格戈在1970年代制作的悬挂金属丝雕塑。 Transcript Pablo León de la Barra: 在70年代，当格戈观察到线性雕塑中的金属丝，她意识到雕塑不一定要沉重地立在底座上，而是可以翩然地悬挂在天花板上。 Geaninne Gutiérrez-Guimarães: 她开始采用可以用手直接塑形的铝。基于三角形或正方形的几何结构，她创造了这些轻盈、脆弱的雕塑，而且它们悬在半空与空间互动，也带有...

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉讨论格戈在委内瑞拉创作的公共艺术作品以及她的版画创作起源。 Transcript Geaninne Gutiérrez-Guimarães: 您从此可以看出代表委内瑞拉现代艺术发展方向的现代主义创作方法。格戈是这一趋势中创新的中坚。 Pablo León de la Barra: 她一直在寻找新方式来持续表达自己，以避免自我重复，挑战雕塑的定义，挑战素描的定义，真正重塑了20世纪下半叶雕塑和绘画的整个语汇。 Ge...

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉介绍格戈对“líneas paralelas”（平行线）的探索。 Transcript Geaninne Gutiérrez-Guimarães: 大约在50年代末、60年代初，格戈在描绘风景、人物、建筑等主题时，渐渐开始摆脱传统范式。她对被她称为平行线的探索，在本质上植根于几何学。 Pablo León de la Barra: 简单来说，这些素描是由平行线和重复的线条所构成的，而人物是通过断开这些线条来画出的。她的作品在掌握...

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉讨论格戈的艺术实践的起源。 Transcript Geaninne Gutiérrez-Guimarães: 格戈的故事很重要，我们需要了解。我们知道她出生在汉堡，后来逃离纳粹德国变成难民。她在委内瑞拉流离失所，将近三十岁时，重新开始了她的人生。她来自一个非常富裕的犹太家庭。凭着她的建筑和工程学位，她到达委内瑞拉时已经是一名专业人士。 Pablo León de la Barra: 一开始，她不懂当地的语言...

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉介绍在海伊展厅中展出格戈作品的沉浸式环境。 Transcript Pablo León de la Barra: 格戈的作品是开放的。观众不是在观看挂在墙上的一幅画，而是进入了画中。素描由此变成了空间。 Geaninne Gutiérrez-Guimarães: 她在60年代开始创作立体作品，这些作品超越了委内瑞拉当时非常重要的两个艺术运动：几何抽象，和动态艺术。这些雕塑基于三角形或正方形，非常轻盈、非常线条...

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉讨论格戈的艺术传承。 Transcript Pablo León de la Barra: 这是首次在纽约举行的大型格戈作品回顾展，我们很荣幸能够在古根海姆博物馆举办这场展览。我叫巴勃罗·莱昂·德拉巴拉。我是纽约古根海姆博物馆的拉丁美洲艺术特约策展人。 Geaninne Gutiérrez-Guimarães: 我叫吉安妮·古铁雷斯-吉马良斯，是纽约和毕尔巴鄂古根海姆博物馆的副策展人。我专注于拉丁美洲艺术。 Pabl...

Únase a los curadores Geaninne Gutiérrez-Guimarães y Pablo León de la Barra mientras analizan las investigaciones sobre la línea, el espacio y la forma de Gego en sus obras tardías. Transcript Pablo León de la Barra: A finales de la década de 1970 e inicios de la década de 1980, Gego desarrolla una de sus series de obras más grandes, que es los Dibujos sin papel. Geaninne Guimaraes: Aquí Gego está...

Únase a los curadores Geaninne Gutiérrez-Guimarães y Pablo León de la Barra mientras hablan sobre las esculturas de alambre colgantes de Gego desde la década de 1970. Transcript Pablo León de la Barra: En la década de 1970, cuando Gego descubre el uso del alambre en la realización de esculturas de alambre, se da cuenta de que las esculturas no necesitan pesar mucho ni estar colocadas más en pedest...

Únase a los curadores Geaninne Gutiérrez-Guimarães y Pablo León de la Barra mientras analizan las obras de arte públicas que Gego creó en Venezuela y los orígenes de su práctica en el grabado. Transcript Geaninne Gutiérrez-Guimarães: Logramos realmente ingresar ahora en este enfoque modernista de aquello en lo que se iba a convertir el arte moderno venezolano. Y Gego está justamente allí, en medio...

Únase a los curadores Geaninne Gutiérrez-Guimarães y Pablo León de la Barra mientras hablan sobre la exploración de las líneas paralelas de Gego. Transcript Geaninne Gutiérrez-Guimarães: Diría que aproximadamente entre finales de la década de 1950 y comienzos de los 60s, Gego se aleja de una forma muy tradicional de representar temas como el paisaje, lo figurativo y la arquitectura. Su investigaci...

Únase a los curadores Geaninne Gutiérrez-Guimarães y Pablo León de la Barra mientras analizan los orígenes de la práctica artística de Gego. Transcript Geaninne Gutiérrez-Guimarães: Es muy importante comprender la historia de Gego. Sabemos que nació en Hamburgo, que tuvo que escapar de la Alemania nazi, y que se convirtió en una refugiada, una persona desplazada en Venezuela, y que al llegar a una...