評論
打印
..Diese Zukunft restlos uns gehort.
...未來完全屬于我們
Kiefer's first project was called Occupations...
基弗的第一個設計叫"占領"
..A combination of performance and photography,satirical poses meant to pierce the conspiracy of forgetting.....a wound opener.
是一系列表演和攝影 帶有諷刺意味的姿勢揭露了遺忘的陰謀...撕開傷口
Off he went where the Panzer divisions had gone,often wearing his father's Luftwaffe uniform,Sieg Heil to scenery
他去的地方都是裝甲師去過的 他經常穿著他父親的納粹德國空軍制服 對著鏡頭高喊納粹的"勝利萬歲"
but also to the seductive spell of German art memories.
不過也是對德國藝術記憶的魅力喊的
But satirical provocations alone would never have made Kiefer a great artist.
但只有譏諷的挑釁 是不可能使基弗成為一位偉大的藝術家的
This did.
讓他成名的是這個
Paint thick with memory, physically encrusted with the debris of history's destructions...
帶有濃厚記憶色彩的畫 這是被歷史破壞后的殘骸包裝之后的樣子
..Images that recall the blasted,bombed-out cities in which Kiefer himself grew up.
讓人回想起灰暗歲月的圖像 也是基弗家鄉被炸彈襲擊之后的樣子
But look closer.
但仔細看
There are names, written in Kiefer's spidery hand,great figures of all the Germanic peoples from history, culture, art...
基弗蛛網般地寫下了這些名字 這些名字都屬于德國歷史 文化 藝術上的偉人們
..Painters like Durer, generals like Wallenstein,an indiscriminate gathering of both the gifted and the dangerous.
就像畫家丟勒 華倫斯坦將軍 那些天才與危險的人物 無差別地都被放進了畫里
Their names recall a building and a moment around which German national identity had been formed.
他們的名字使人回想起建立起德國國家認同感的 那座建筑和那個時刻
This is the Walhalla, near Regensburg,finished in 1842,the pet project of Ludwig, King of Bavaria.
這是雷根斯堡附近的瓦爾哈拉 于一八四二年建成是巴伐利亞國王路德維希二世據個人喜好所建
He took the Norse idea of Valhalla,resting place of the greatest warriors fallen in battle,and Germanised it,
他取了北歐神話中瓦爾哈拉的概念 那是在戰爭中犧牲的偉大戰士的歸宿路德維希二世將這一概念德國化
filling this neoclassical pantheon with portrait busts,heroes of German culture...
這座新古典主義的神廟里裝點著德國文化中的英雄的半身像
..The very same names that Kiefer includes in his paintings.
正是基弗在畫中所寫的那些名字
In the 1930s, of course, the Walhalla became a place of cultural pilgrimage for all good Nazis.
在二十世紀三十年代 瓦爾哈拉成為了杰出納粹人士的文化朝圣地
