Tim Hawkinson ｜蒂姆·霍金森 ｜DOSE
蒂姆·霍金森(Tim Hawkinson)于1960年出生于加利福尼亚州的旧金山, 现居洛杉矶。2005年美国东西海岸两大博物馆，惠特尼博物馆WHITNEY和洛杉矶艺术博物馆LACMA为蒂姆·霍金森举办了各为期半年的个人展览，两大博物馆联名为蒂姆·霍金森编辑出版作品年册，以此记录蒂姆·霍金森在当代艺术发展上的巨大贡献。
Tim Hawkinson was born in San Francisco, California, in 1960. A graduate of San Jose State University, he later earned his MFA at the University of California, Los Angeles, in 1989. Hawkinson is renowned for creating complex sculptural systems through surprisingly simple means. His installation, Überorgan—a stadium-size, fully automated bagpipe—was pieced together from bits of electrical hardware and several miles of inflated plastic sheeting.
霍金森曾获得了古根海姆基金会奖，参与众多国际展览，包括威尼斯双年展，马萨诸塞州当代艺术博物馆，the Power Plant多伦多，惠特尼双年展(2002)，高古轩，华盛顿特区的柯克伦双年展等，其作品被收藏于各类大型艺术机构，包括盖蒂中心，当代艺术博物馆MOCA，惠特尼，洛杉矶艺术博物馆LACMA，内华达艺术博物馆，圣何塞艺术博物 馆，奥治兰艺术博物馆OCMA, UCSD the stuart collection，夏威夷艺术博物馆等。
霍金森的作品创作方式不受任何限制，在他的创作里，自我，情感，科学，艺术性，材料相互融合，与其说是当代艺术装置，不如说是一个充满想象力的新空间，熟悉的物件和画面在他的作品里给人转瞬即逝的奇异感，这种奇异感穿插 在每件作品里，从而引发多重感官以及心理的触动。在他的空间里有250英尺长的乐谱组成的大型发声装置艺术，UCSD校园里巨石堆砌的熊，有由指甲做成的微小作品“Bird”，身体探索的局部与重组。以创作为本源，他在日常的思考和自我的探索里，创建了自己的艺术格局。
Tim Hawkinson x 三宅一生
Hawkinson’s fascination with music and notation can also be seen in Pentecost, a work in which the artist tuned cardboardtubes and assembled them in the shape of a giant tree. On this tree, the artist placed twelve life-size robotic replicas of himself, and programmed them to beat out religious hymns at humorously irregular intervals. The source of inspiration for many of Hawkinson’s pieces has been the re-imagining of his own body, and what it means to make a self-portrait of this new or fictionalized body. In 1997, the artist created an exacting, two-inch-tall skeleton of a bird from his own fingernail parings, and later made a feather and egg from his own hair; believable even at a close distance, these works reveal Hawkinson's attention to detail as well as his obseesion with life, death, and the passage of time.
近期作品/Recent Works
回顾2005年，WHITNEY惠特尼及LACMA洛杉矶郡美术馆给Tim Hawkinson做的中期展，不难看出，Tim Hawkinson以身体与周围环境的关系作为探索一直延续在他的作品里，在我看来他以第三人称的方式，将大型装置作为载体，给人们非常逻辑化的呈现了自我在不同视野里导致的不同存在关系，自我的存在成了一件“参照物”（或“辅助物”）而相互关联的，意料之外的结果充实了作品的生命力。Tim的作品里机械化的逻辑和感性化的表达从未冲突，Tim的作品沿着时间线展开，看起来正像一场由逻辑推导-实验到本体的讨论，在这场讨论中，充满着大型装置机械的声音，同时也有着Drip系列作品安静如枯山水般的低语。
Looking back to 2005, in the mid-career exhibition organized by the Whitney Museum of American Art and the Los Angeles County Museum of Art (LACMA) for Tim Hawkinson, it becomes evident that his exploration of the relationship between the body and the surrounding environment has remained a central theme in his body of work. In my perspective, he approaches this exploration in the third person, employing large-scale installations as vehicles to provide viewers with a highly rationalized presentation of the various ways in which the self exists within different perspectives.In Hawkinson's artistic universe, the self becomes a "reference point" (or "auxiliary element"), interwoven and interrelated with unexpected outcomes that enrich the vitality of his creations. The mechanical logic and expressive sensibility in Tim's works have never been in conflict. Instead, they unfold along a timeline that resembles a discourse progressing from logical deduction to ontology. In this captivating conversation, the ambiance is filled with the mechanical sounds of his large-scale installations, while at the same time, there exists the quiet murmur of his Drip series, akin to the tranquility of a Kare-sansui garden.
Drip系列作品创作过程
欢迎与我们联系，分享更多信息与细节。
所有作品皆可销售，如需咨询请公众号聊天窗口询问。
Feel free to contact us for more information and details.All artworks are available for sale, and for inquiries, please use the chat window on our public account.