Louise Bourgeois｜路易丝·布尔乔亚

Original AnArtSpace 一甸艺术 2022-09-20

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Composite materials

LOUISE BOURGEOIS

路易丝·布尔乔亚

Composite materials by Louise Bourgeois

January 9, 2019 - AN ART SPACE

EDIT / © Wu Yimiao

ARTIST / © Louise Bourgeois

POSTER / © MuMu

PHOTO / © Louise Bourgeois

TRANSLATE / © Xu Danhua

LSSUANCE OF PROMOTION / © AN ART SPACE

Louise Bourgeois'S BIOGRAPHY

路易丝·布尔乔亚｜Louise Bourgeois

Born in Paris, France, 1911

Sculptor, Painter, Critic and Writer

Died on May 31, 2010

LOUISE BOURGEOIS

Inside and outside

Cell (The last climb), 2008

Steel, glass, rubber, thread and wood

151 1/2 × 157 1/2 × 118 in; 384.8 × 400.1 × 299.7 cm

In order to fully express my intolerable limits to this family, I must choose a form to vent my anxiety, and can constantly change, destroy and rebirth. For me, sculpture is the reproduction of the body, and my body is the essence of my sculpture.

Passage Dangereux, 1997

Metal, wood, tapestry, rubber, marble, steel

104 × 140 × 345 in; 264.2 × 355.6 × 876.3 cm

By means of symbols, people can communicate more consciously. But you also have to understand that symbols are symbols. They are not flesh-and-blood exchanges.

Photo: © Louise Bourgeois

Inside and outside

● Exhibition scene

路易丝·布尔乔亚｜里里外外

对于我来说，雕塑就是躯体的再现，我的躯体就是我雕塑的本质。为了完全表达我对这个家庭不能容忍的极限，我必须选择一个形式发泄心中的焦虑，并且可以不断改变、毁灭并重生。

——路易丝·布尔乔亚

For me, sculpture is the representation of my body, and my body is the essence of my sculpture. In order to fully express the limits of what I could not tolerate in this family, I had to choose a form to express my anxiety in my heart, which could be constantly changed, destroyed and reborn.

-- Louise bourgeois

2019

Louise Bourgeois

1947-2006｜WORKS

Composite materials

综合材料·1947-2006

Louise Bourgeois

Spider, 1997

Steel, tapestry, wood, glass

Fabric, rubber, silver, gold and bone

177 × 262 × 204 in; 449.6 × 665.5 × 518.2 cm

Cell (Choisy), 1990-1993

Marble, metal, and glass

120 1/2 × 67 × 95 in; 306.1 × 170.2 × 241.3 cm

Cell (Eyes & Mirrors) 1989-1993

Steel, limestone and glass

Cell (Choisy), 1990-1993

Collection Glenstone

Cell III, 1991

Metal, glass, fabric, bronze, steel, wood

81 1/2 × 87 × 83 in; 207 × 221 × 210.8 cm

Cell XXVI (detail), 2003

Steel, fabric, aluminum, stainless and wood

99 1/2 × 171 × 120 in; 252.7 × 434.3 × 304.8 cm

In and Out , 1995

Metal, glass, plaster, fabric and plastic

81 × 83 × 83 in; 205.7 × 210.8 × 210.8 cm

Cell VII, 1998

Metal, glass, fabric, bronze

Steel, wood, bones, wax and thread

81 1/2 × 87 × 83 in; 207 × 221 × 210.8 cm

Red Room (Parents) (detail) , 1994

Wood, metal, rubber, fabric, marble, glass and mirror

Lady in waiting, 2003

Tapestry, thread, stainless steel, steel, wood and glass

82 × 43 1/2 × 58 in; 208.3 × 110.5 × 147.3 cm

Red Room (Child), 1994

Untitled, 1947-1949

Bronze, painted white and blue, and stainless steel

51 4/5 × 12 × 12 in; 131.5 × 30.5 × 30.5 cm

Pillar, 1949-1950

Bronze，63 1/4 × 12 × 12 in

160.7 × 30.5 × 30.5 cm

Untitled, 1954

Painted bronze and stainless steel

55 1/2 × 21 7/10 × 12 in; 141 × 55.2 × 30.5 cm

Untitled, 2003

63 × 20 9/10 × 16 1/10 in; 160 × 53 × 41 cm

NATURE STUDY, 1984

Bronze, polished patina

29 1/2 × 20 1/2 × 15 1/2 in; 74.9 × 52.1 × 39.4 cm

Fragile Goddess, 1970

Bronze, gold patina

10 1/4 × 5 5/8 × 5 3/8 in; 26 × 14.3 × 13.7 cm

AVENZA REVISITED

Bronze with silver nitrate and polished patina

17 × 41 × 35 in; 43.2 × 104.1 × 88.9 cm

Give or Take (How Do You Feel This Morning?), 1990

Bronze

4 1/4 × 9 × 6 in; 10.8 × 22.9 × 15.2 cm

Give or Take (How Do You Feel This Morning), 1990

Cast and polished bronze sculpture

4 1/2 × 9 × 6 in; 11.4 × 22.9 × 15.2 cm

Fallen Woman (White, Black and Blue), 1996-1997

Porcelain, gilding

2 7/8 × 11 1/4 × 2 3/4 in; 7.3 × 28.6 × 7 cm

Fallen Woman, 1996

Black porcelain and polished gold

3 1/4 × 3 1/4 × 11 3/4 in; 8.3 × 8.3 × 29.8 cm

Fallen Woman, 1996

Porcelain biscuit and gold

12 1/5 × 3 3/20 × 3 3/20 in; 31 × 8 × 8 cm

Arch of Hysteria, 1993

Bronze, polished patina

33 × 40 × 23 in; 83.8 × 101.6 × 58.4 cm

Topiary, 2005

Bronze, silver nitrate patina

6 3/4 × 11 1/4 × 10 1/4 in; 17.1 × 28.6 × 26 cm

TOPIARY, 2006

Bronze, silver nitrate patina

8 7/10 × 9 3/10 × 4 in; 22.2 × 23.5 × 10.2 cm

FEMME, 2005

Bronze, silver nitrate patina

13 × 16 1/2 × 7 3/4 in; 33 × 41.9 × 19.7 cm

Knife Couple, 1949 (cast 1991)

Bronze and stainless steel

67 1/2 × 12 × 12 in; 171.5 × 30.5 × 30.5 cm

NATURE STUDY, 1986

White marble

35 × 61 × 29 in; 88.9 × 154.9 × 73.7 cm

Mamelles, 1991

Pigmented urethane rubber

19 × 120 × 19 in; 48.3 × 304.8 × 48.3 cm

Assaults, 1999

Wall relief; steel and lead

10 1/4 × 16 1/2 × 1/2 in; 26 × 41.9 × 1.3 cm

Pregnant Woman II, 1947-1949

Bronze coated and polished Ed. 4/6

52 × 16 × 16 in; 132 × 40.6 × 40.6 cm

Fée Couturière

Painted bronze

39 1/2 × 22 1/2 × 22 1/2 in; 100.3 × 57.2 × 57.2 cm

Figure, 1999

Fabric, pink Portuguese marble, metal and glass

8 7/10 × 17 1/2 × 10 1/5 in; 22.2 × 44.5 × 26 cm

Rondeau for L, Conceived in 1963 and cast in 1990

Bronze

11 × 11 × 10 1/2 in; 27.9 × 27.9 × 26.7 cm

The Couple, 2003

In and Out, 1995

Metal, glass, plaster, fabric, and plastic

The Loved Hand, Conceived in 1967 and cast in 1990

Bronze

9 × 12 1/10 × 8 in; 22.9 × 30.8 × 20.3 cm

Untitled (No. 2), 1996

Pink marble on steel base

26 × 31 × 25 in; 66 × 78.7 × 63.5 cm

UNTITLED , 2004

Pink marble

10 1/4 × 24 × 16 in; 26 × 61 × 40.6 cm

Untitled, 2001

Bronze with silver nitrate patina, in 3 parts

Untitled，Fur

Single III, 1996

Maman , 1999

Louise Bourgeois’ Spider

路易丝·布尔乔亚的蜘蛛

｜

我的童年从未失去它的魔力，它从未失去它的神秘，它从未失去它的戏剧。

——路易丝·布尔乔亚

My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.

—Louise Bourgeois

Louise Bourgeois: Structures of Existence – The Cells

The pair first met in 1980 when Jerry was hanging her work in a Soho gallery and the artist walked past the window. “I didn’t know the work so well and I’d only seen a few pieces, but I thought they were strong,” he says. He was 25 and she was 70.

Louise Bourgeois: Structures of Existence – The Cells

Rather than a meeting of minds, their first conversation was an argument in which Bourgeois shouted at Jerry that he was hanging her work all wrong. “She could be quite aggressive and powerful, but then she calmed down after we had some tea. She then invited me to her house and so I saw even more of her work.”

Louise Bourgeois: Structures of Existence – The Cells

At first, Jerry only worked for Bourgeois a few hours a week but slowly his role grew to assistant, manager and friend. Her career spanned 70 years but it was only later in life, with Jerry’s involvement, that she became more known. The work, rather than the fame, always remained priority for Bourgeois.

Louise Bourgeois: Cell VI, 1991, Structures of Existence – The Cells

“I had to force her to go to a few of her own openings in the beginning even though she didn’t want to… She felt the whole thing was unnecessary, so was rarely involved in the commercial side of her work.”

Louise Bourgeois: Passage Dangereux, 1997, Structures of Existence – The Cells

Louise Bourgeois: Cell XXVI, 2003, Structures of Existence – The Cells

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