我实在是不能忍 一定要发了这个帖子才能安心睡觉！！！！
TATE MODERN
Carsten Höller, Test Site, 2006
Carsten Höller
Test Site 2006
© The artist.
Tickets for the slides are free, timed and available in the gallery, on the day.
Watch a live webcam view of the slides.http://www.tate.org.uk/modern/exhibitions/...ler/webcam.shtmAbout
For Carsten Höller, the experience of sliding is best summed up in a phrase by the French writer Roger Caillois as a 'voluptuous panic upon an otherwise lucid mind'. The slides are impressive sculptures in their own right, and you don't have to hurtle down them to appreciate this artwork. What interests Höller, however, is both the visual spectacle of watching people sliding and the 'inner spectacle' experienced by the sliders themselves, the state of simultaneous delight and anxiety that you enter as you descend.
To date Höller has installed six smaller slides in other galleries and museums, but the cavernous space of the Turbine Hall offers a unique setting in which to extend his vision. Yet, as the title implies, he sees it as a prototype for an even larger enterprise, in which slides could be introduced across London, or indeed, in any city. How might a daily dose of sliding affect the way we perceive the world? Can slides become part of our experiential and architectural life?
Höller has undertaken many projects that invite visitor interaction, such as Flying Machine (1996) that hoists the user through the air,
Upside-Down Goggles (1994/2001) that modify vision, and Frisbee House (2000) - a room full of Frisbees. The slides, like these earlier works, question human behaviour, perception and logic, offering the possibility for self-exploration in the process.
好想去玩滑梯啊！！！！
David Smith, The Forest, 1950
Widely regarded as the greatest American sculptor of his generation, David Smith (1906-65) created some of the most memorable works of the twentieth century. Characterised by the use of industrial materials, especially welded iron and steel, and the exploration of an open, linear structure, his work revolutionised the art of sculpture in the United States and beyond.
Smith grew up in Indiana, the son of an engineer, and from an early age was enthralled by trains and railroads. Aged 19 he worked as a welder and riveter in a car factory, developing a deep respect for iron and steel. His work captures the spirit of America’s transition from a rural and agricultural society to an urban and industrial one.
As this new age of mechanisation took hold, Smith believed that artists should also embrace industrial materials and techniques. Discussing steel as a medium, he said: ‘What it can do in arriving at form economically, no other material can do. The metal itself possesses little art history. What associations it possesses are those of this century: power, structure, movement, progress, suspension, destruction and brutality.’
Early in his career, Smith was influenced by the work of European sculptors such as Pablo Picasso, Julio González and Alberto Giacometti, assimilating some of their techniques into American sculpture for the first time. By the early 1950s he had developed his own unique vision, which he pursued for nearly 15 years. He was at the height of his creative powers when, in 1965, he died in a car accident, leaving behind an expansive and impressive body of work.
Celebrating the one hundredth anniversary of the artist’s birth, David Smith: Sculptures presents the masterpieces of Smith’s mature period in the 1950s and 1960s, many of which are seen together in London for the first time, as well as a selection of his early works.
This exhibition was curated by Frances Morris, Head of Collections (International Art), Tate Modern with Maeve Polkinhorn, Assistant Curator, Tate Modern. It was organised by Tate Modern in collaboration with the Solomon R Guggenheim Foundation and the Centre Georges Pompidou.
恩 这个要买门票~~~
)
不过要先学会车工
