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JEFF KOONS: 1979-1999

JEFF KOONS, Flowers, 1986




stainless steel

from an edition of 3 plus 1 AP

12½ x 18 x 12 in.   31.8 x 45.7 x 30.5 cm.  

© Jeff Koons

傑夫 · 昆斯


1986 年作



12½ x 18 x 12 英寸,31.8 x 45.7 x 30.5 公分  

© Jeff Koons


Flowers, 1986. Different elements are important to artists’ lives; you can look at their vocabulary. And flowers is one that always has stayed very important to me, because it’s a symbol of the now—the fragility of the moment, and of the life, the opportunity that we have in this constant state of being in the now. Flowers was originally a Capodimonte porcelain that I would have molded and put into stainless steel and brought to a highly reflective polish—such that you can feel this sense of social mobility going from a Capodimonte-type figurine into something a little more grander. But for me, when I look at it, I also have an idea of what’s to come. With the Banality series, I make a special project for Artforum, and at the end of the project, I have a Capodimonte vase of flowers—similar to this, a little smaller—but I’m taking a hammer to it, and it’s shattering. And these little fragments are going out in all directions. And on top of it, it’s written, “CRITICALITY GONE.” And it was part of a manifesto for my Banality work to come.


《花》,1986年。對藝術家來說,某些題材會在他們的藝術生涯中特別重要,你可以從他們的藝術詞彙中看出來。花對我來說一直非常重要,它象徵著瞬息萬變的當下,以及每一刻給予我們的生命力和機會。《花》最初是一個卡波迪蒙特瓷器雕像,我用不銹鋼塑造題材,經過高度拋光處理讓它變得閃閃發光,產生一種社會流動感,因爲我們感受到物件由卡波迪蒙特小雕像變成稍微更宏偉的東西。但對我來說,這作品更有另外一層意義,它是一個徵兆。在其後的《平庸》系列,我為《Artforum》藝術雜志創作了一個特別的項目,在項目結束時,我將一個卡波迪蒙特花瓶,就類似這一個,尺寸稍微小一些,用錘子打碎,小碎片四散飛出,然後海報上寫著:「去除批判性(CRITICALITY GONE)」。所以這個作品都是將來《平庸》系列的宣言的一部分。

Jeff Koons on Flowers

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