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版权 此作品仍被视为受版权保护。Gilbert & George 出生于 1943，且无记载的逝世日期；版权在艺术家逝世后持续 70 年。此处展示图像仅供课堂参考；相关权利仍归权利人所有。
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Ages — Gilbert & George
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Ages — Gilbert & George
In the late sixties, under the democratic motto Art for All, the artists’ duo Gilbert & George presented themselves as Living Sculptures, which gave them every opportunity to share their thoughts and feelings with the public. Concerns about the (difficult) position and function of art and the artist in modern society. Originally, they gave motionless performances in their role of British gentlemen, in old-fashioned tweed suits that were slightly too tight and with hands and faces covered in bronze paint. In doing so, they conformed to an aesthetic code of conduct they had invented themselves. From the second half of the seventies they focused on the wall-sized arrangements of separate framed photos, works in which the artists always occupied a central position themselves.The work Ages is part of a fixed group of works with the title New Horny Pictures. Works that consist of a combination of adverts from gay magazines and portraits of the two artists. This work is best described as a look into the practice of the gay dating scene. The advertisements offered to men by naming their physical qualities.
艺术家与博物馆
出生于 San Martín de Tor, Italy
The art world rarely witnesses partnerships that endure, let alone those that fundamentally challenge the very definition of artistic practice. Yet, for over five decades, Gilbert Prousch and George Passmore – known collectively as Gilbert & George – have relentlessly pushed boundaries, provoking audiences with their audacious work and unwavering commitment to a singular vision. Their story is one of unlikely origins, a meeting of minds forged in the crucible of 1960s London, and a dedication to blurring the lines between art and life that continues to resonate today. Gilbert, born in San Martín de Tor, Italy, in 1943, arrived in England with a unique cultural background, having grown up speaking Ladin, a Rhaeto-Romance language. His early artistic training took place across Austria and Germany before he settled in Britain. George Passmore, born in Plymouth, UK, in 1942, followed a more unconventional path, leaving formal schooling at fifteen to pursue his passion for art through institutions like Dartington College of Arts and Oxford School of Art. Their paths converged on September 25, 1967, within the hallowed halls of Saint Martin's School of Art, where they were both sculpture students. It was a pivotal encounter that would irrevocably alter the landscape of contemporary art.
From their initial meeting, Gilbert & George embarked on an artistic journey unlike any other. They conceived of themselves not merely as artists creating art, but as being art – a concept they termed "living sculpture." This radical notion involved a deliberate merging of their lives into a single, ongoing performance. Their early works were deliberately confrontational and unconventional. The Singing Sculpture, performed in 1969, epitomized this approach. Clad in metallic powders, the duo would stand on tables and perform songs, transforming themselves into living, breathing artworks that challenged conventional notions of artistic presentation. This wasn’t about creating an object to be observed; it was about embodying art itself. A defining characteristic quickly emerged: their impeccably tailored suits. These weren't mere sartorial choices but a deliberate aesthetic statement – a formal facade contrasting sharply with the often-challenging and provocative content of their work. The suits became their uniform, a visual shorthand for their artistic persona, reinforcing the idea that Gilbert & George were always “on,” perpetually performing their roles as living sculptures. This commitment to presentation underscored their belief in art’s ability to disrupt and challenge societal norms. Their early boldness extended to self-titling works like "George the Cunt and Gilbert the Shit" (1969), a preemptive strike against criticism that demonstrated an unflinching willingness to confront taboo subjects head-on.
Gilbert & George’s artistic practice evolved significantly with the advent of “The Pictures,” large-scale photo-based works that became their signature style. Beginning in black and white, these images gradually exploded with vibrant color, arranged in striking grids that echoed the patterns of urban life. The subject matter was deliberately provocative, tackling themes often considered off-limits: religion, patriotism, sexuality, identity, power dynamics, and societal taboos. Their artistic language draws from a diverse range of influences – Surrealism’s dreamlike imagery, Pop Art’s embrace of popular culture, and Conceptual Art’s emphasis on ideas over aesthetics. The Pictures weren't simply photographs; they were carefully constructed narratives, often unsettling and always thought-provoking. Works like The Gate of Hell, The Family, and Dig exemplify their ability to distill complex social issues into visually arresting compositions. Their long-term residency in East London, particularly Spitalfields, profoundly shaped their artistic vision. They viewed the area as a microcosm of broader societal concerns, depicting its inhabitants and urban landscape with unflinching honesty. This deep connection to place is evident throughout their oeuvre, grounding their universal themes in the specific realities of everyday life. In 2023, they solidified this commitment by inaugurating The Gilbert & George Centre on Heneage Street, London E1 – a dedicated space for showcasing their work and fostering artistic dialogue.
Gilbert & George’s impact on contemporary art is undeniable. They have consistently challenged traditional boundaries, pioneering performance art and paving the way for new forms of expression. Their unwavering commitment to their unique artistic vision has earned them numerous accolades, including nominations for the Turner Prize, the South Bank Show Award, and the Lorenzo il Magnifico Award. Their work is held in prestigious museum collections worldwide, including Tate Britain, the Victoria and Albert Museum, and the Museum of Contemporary Art in Los Angeles, cementing their place within the canon of modern art. More than just artists, Gilbert & George are cultural provocateurs, forcing viewers to confront uncomfortable truths about themselves and society. They have demonstrated that art can be both aesthetically compelling and politically charged, challenging conventions while simultaneously celebrating the complexities of human experience. Their enduring collaboration – a testament to their shared vision and unwavering dedication – serves as an inspiration to artists across generations. They continue to provoke, inspire, and challenge audiences with their bold and uncompromising work, solidifying their legacy as one of the most important and innovative art duos of the 20th and 21st centuries. Their influence extends beyond the visual arts, impacting performance studies, social commentary, and the very definition of artistic practice itself.
展出地点 马斯特里赫特, 荷兰
坐落于荷兰马斯特里赫特充满活力的中心地带，波内法滕博物馆（Bonnefanten Museum）不仅仅是一座艺术的殿堂；它更是一种体验——一场在不同时代、风格与视角之间精心编排的对话。这座博物馆始创于1884年，最初仅作为一座省级历史收藏馆，而今其演变为集历史杰作与当代名作于一体的顶尖艺术中心，这不仅见证了马斯特里赫特深厚的文化底蕴，也彰显了博物馆致力于促进动态艺术对话的坚定承诺。由意大利建筑大师阿尔多·罗西（Aldo Rossi）设计的建筑本身，便是这段叙事中不可或缺的一部分——那座大胆的、形如火箭的穹顶直插马斯特里赫特的天际线，仿佛在深情地回响着博物馆从微末起步到如今跻身欧洲重要艺术机构的辉煌历程。这种建筑语言并非仅仅为了美学而存在，它代表了一种对过去与未来、传统与创新的自觉连接，邀请每一位访客去沉思艺术与建筑的本质内核。
历史的根基：
博物馆的渊源可以追溯到“bons enfants”（意为“好孩子”）——那是一座曾庇护其早期藏品的修道院。这种血脉传承赋予了空间一种历史的厚重感与延续性，使当代展览得以植根于宏大的艺术演进叙事之中。
罗西革命：
阿尔多·罗西的设计远不止于一座建筑，它更是博物馆体验中的积极参与者。那座极具戏剧性的穹顶构成了视觉焦点，引领访客的视线向上升腾，创造出一种开放感，并与下方的城市景观紧密相连。其几何形态挑战了传统的博物馆建筑观念，促使人们去反思空间、形式与艺术表达之间的深层关系。
波ne法滕博物馆的馆藏呈现出令人惊叹的多样性，它是历史杰作与突破性当代作品之间经过精心策划的融合。步入其围墙之内，人们可以追溯跨越数百年的艺术风格演变：从中世纪雕塑那细腻入微的纹理——例如埃尔斯洛大师（Master of Elsloo）笔下那令人动容的《圣母与圣安妮及圣婴》——到早期意大利与佛兰德绘画中鲜艳的色彩与充满张力的构图。博物馆珍藏着诸如扬·范·斯特费斯韦特、彼得·科克·范·艾尔斯特以及安东尼·范·戴克等大师的重要作品，为人们窥见往昔时代的生命力与信仰提供了亲密而深刻的窗口。
然而，波内法滕博物馆并未止步于过去。它以同样的热忱拥抱当代艺术的动态魅力，展出索尔·勒维特、罗伯特·雷曼、扬·迪贝茨和马塞尔·布鲁德特尔等艺术家的杰作。2011年艾克（Eyck）收藏的加入，极大地扩张了这一艺术版图，引入了挑战传统材料观念的意大利“贫穷艺术”（Arte Povera）以及概念艺术，不断推向艺术表达的边界。博物馆对历史与当代作品并重的坚持，确保了访客能够获得一种不断进化的体验，从而促进对艺术传统间内在联系的更深层次理解。
波内法滕博物馆真正脱颖而出之处，在于其在过去与现在之间建立对话的自觉策略。这不仅仅是将不同时期的艺术品并列陈列，更是致力于创造一个让这些作品能够相互启发、相互挑战的环境。这种方法鼓励访客去思考艺术思想的演进、连接不同世代艺术家的永恒主题，以及当代实践如何在前人的基础上进行构建或对其进行反思。博物馆的策展人通过精心策划的展览来凸显这些联系，编织出一幅由艺术影响与诠释交织而成的丰富织锦。
瞩目展览：
《主街上的流亡》（Exile on Main Street）：
(2009年) —— 一场致敬美国极简主义的回顾展，展示了索尔·勒维特和罗伯定·雷曼等艺术家作品中的精准与纯粹之美。
《真正的邪恶：七宗罪的视觉呈现》（Truly Wicked: The Seven Deadly Sins Visualized）：
(2024-2025年) —— 一场通过多样化的艺术风格与媒介，探索“罪”之视觉化表达的展览。
波内法滕博物馆不仅是一座博物馆，它更是马斯特里赫特社区不可或缺的一部分。定期的临时展览、教育项目以及公共活动吸引着来自该地区乃至更远地方的访客。博物馆对无障碍体验的承诺——包括其“波内法滕免费周五”计划——确保了艺术能够触及每一个人。此外，博物馆还积极与当地机构和组织合作，培育出一个充满活力的文化生态系统。它坐落于马斯特里赫特陶瓷区（Céramique district）的核心地带，周边餐厅、商店及其他景点触手可及，使其成为一个值得深度探索的目的地。
如需更多信息及了解即将举行的活动，请访问：
www.bonnefanten.nl
artsdot.com/zh/art/download/gilbert-george-ages-D67G6C-en/
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Ages — Gilbert & George
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