615
615
田中敦子
作品
估價
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7,000,0009,000,000
拍品已售 12,700,000 港幣 成交價 (含買家佣金)
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615
田中敦子
作品
估價
Premium Lots
In order to bid on "Premium Lots" you must complete the required Premium Lot preregistration application and deliver to Sotheby's such necessary financial references, guarantees, deposits and/ or such other security as Sotheby's may in its absolute discretion require, as security for your bid. Sotheby's decision whether to accept any pre-registration application shall be final. We recommend you contact Sotheby's at least 3 working days prior to the relevant sale in order to process the pre-registration, and please bear in mind that we are unable to obtain financial references over weekends or public holidays. If all lots in the catalogue are "Premium Lots", a Special Notice will be included to this effect and the paddle symbol will not be used.
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Sotheby's Ownership Interest
Property in which Sotheby's has an ownership interest. Lots with this symbol indicate that Sotheby's owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
7,000,0009,000,000
拍品已售 12,700,000 港幣 成交價 (含買家佣金)
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拍品詳情

筆道II: 彩潑天下

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香港

田中敦子
作品
一九六三年作
款識
Atsuko Tanaka,1963(作品背面)
合成樹脂漆畫布 畫框
145.5 x 113 公分 ,57¼ x 44½ 英寸
參閱狀況報告 參閱狀況報告

來源

田中敦子発會第一回拍賣
亞洲私人收藏
亞洲私人收藏
現藏者購自上述來源

展覽

日本,東京,南畫廊〈田中敦子展〉一九六三年
日本,蘆屋市,第十六回蘆屋市展,一九六三年
日本,大阪,田中敦子発會,一九七三年
美國,紐約,紐約大學格雷美術館;加拿大,溫哥華,The Morris and Helen Belkin畫廊〈Electrifying Art: Atsuko Tanaka, 1954–1968〉二〇〇四年九月十四日至十二月十一日;二〇〇五年一月二十一日至三月二十日,56頁

出版

〈田中敦子:未知的美的探求1954-2000〉(日本蘆屋市,蘆屋市立美術館,二〇〇一年),111及176頁
〈田中敦子全集2015〉(日本大阪,Galleria Col,二〇一五年),81頁

相關資料

舞台上的迷人身影
田中敦子

「身穿電氣服的田中敦子,化身成地平線上的閃耀高樓,成為現代亞洲城市的標誌。」─馬克·史蒂文斯1

《作品》(拍品編號615)來自田中敦子輝煌的六十年代創作,她當時已享譽國際,標誌性圓圈作品在紐約現代藝術博物館展覽,安東尼·丹尼及羅蘭德·A·吉布森等知名西方收藏家以及美國畫家山姆·弗朗西斯更將其作納入收藏中。此作構圖獨特,與田中現藏於著名博物館收藏內的早期作品相類。層層圓圈譜出喧鬧生動的交響曲,以充沛的視覺爆發力直面觀者,「在我們心中激盪出一種不安分的揪心能量」,田中敦子研究學者加藤瑞穂如是說。2 他繼續發問:「這樣的能量到底源自何方?」

答案顯然在田中一九五六年作品《電氣服裝》當中。藝術家憑藉這一創意表演在世界舞台上奠定了自己的地位。一九五六年十月在東京舉辦的第二屆具體派藝術展上,田中著一襲電力強勁、晶光閃耀的「電氣服」震懾全場,以大把電線連接超過二百顆燈泡和燈管,在霓虹光的明滅中,這件製作精密的《電氣服裝》所散發的高熱能量,令人眼花撩亂的光圈,深深映在觀眾眼底。直到五年後,美國極簡主義藝術家丹·弗拉文才創作出首件螢光雕塑。這次表演使田中在藝術史留下不朽印記,奠定其傑出藝術家的地位,她更獲知名法國藝評家米榭·塔皮耶的稱譽,在他於一九五七年的代表作《首次日本旅程的心理預備》中提及:「我對具體派藝術群體深表敬意,我更認為當中四位藝術家應與其他享譽國際的人物齊名,包括白髮一雄、嶋本昭三、吉原治良及田中敦子。」3

眾所周知,《電氣服裝》這一關鍵作品為田中於一九五七年後發展出的彩色圓圈線條等藝術語彙奠定了重要基礎。然而若要充分理解畫布上躍動強烈的能量,便要回過頭來審視田中敦子在《電氣服裝》之前使用的裝置物料與表演作品,這些積累最終於《電氣服裝》這一創意表演中達到頂點,也在畫作中展現出其標誌性美學元素。一九五五年七月起,田中開始作為一名業餘裁縫參與蘆屋公園的具體派首次戶外展出,作品為一幅十平方米的粉紅色人造絲布料,四周鑲藍色滾邊。布料懸於距地面一英尺的空中,在風中飄擺舞動。不久後的九五五年十月,在東京小原會館舉行的第一屆具體派展覽上,田中在靠近入口處懸掛了一塊布料,嶋本昭三看到有感而發:「一塊布料能否成為藝術品?」一九五六年7月,在具體派舉行的第二屆戶外藝術展上,田中展出了《舞台服裝》(裝置藝術)(一九五六年作)和《作品(十字)》(一九五六年作),此為兩件大型裝置藝術作品,田中首次在其中同時加入人體與電力的元素。在她的核心美學理念中,人體、電力與布料是三塊重要的奠基石。

在田中接下來的突破性藝術創作中,布料、人體與電力繼續扮演著不可或缺的角色。一九五六年,具體派與極具影響力的《生活》雜誌(此刊物奠定了傑克森·波拉克在國際舞台上的重要地位)一同舉辦了「One Day Only」展覽。田中帶來了《舞台服裝》(表演藝術)(一九五六年作)的一個初期版本,後來在一九五七年的「具體派舞台藝術」展覽上展出更為精美的終版。田中在鏡頭和觀眾面前快速旋轉身軀,展開一長串特別設計的衣物,迅速將它們脫下並只剩一件閃閃發光的電燈服裝。明天波描述道,田中「構建了特別的道具服裝,衣袖之中大有玄機,部件移動除下後展示出另一層衣物,再繼續脫掉、纏扭或是丟掉,創造出一套形狀與色彩大不相同的服裝。」4《舞台服裝》(表演藝術)有三個重要主題。第一是改變:田中將目光聚焦於視覺所經歷的持續不斷的改變,而不是每件服裝上。第二是以自己的身軀創作:田中將自己的軀體與創作合二為一,用身體作為「畫布」,如同明天波觀察到的那樣,「與波洛克有異曲同工之妙」。5第三是創造自我與身份認同:加藤認為,由於衣物是身體表面的一部分,並且與表面性的創造自我直接相關6,田中的表演提出不少議題,如邊界、自我認知以及與世界的關係。一九五六年的《電氣服裝》便針對這些議題做出了有力的回答:電力將改變推至極限,田中將它穿在身上,從視覺和哲學上展示出震撼人心的身份與改變宣言。其他具體派藝術家以物質和動作作為藝術原則,而對於田中來說,身體和物質僅僅是一個中轉站,最終目的是創造圖像和自我。

這也是田中油畫所依循的基礎準則:加藤加以總結道:「田中的藝術之所以令觀者如此不安,是因為她不間斷不遮掩地根據直覺尋找自我,這種直覺讓觀者感到困擾,她向他們發問,並促使每一個人探索如何創造『自我』。的確,這種體驗暗示我們所認為固定的『自我』邊界,其實是可以改變的,也可能與世界形成全新的關係,觀者的精神世界因而深受影響。」7 同時,日本後廣島時代迅速工業化的城市內,經濟迅速擴張,科技快速發展,田中在作品中將藝術與科技結合起來,從理論和美學兩方面做出了回應。《作品》中的圓圈互相衝撞,跳動閃爍,線條流暢旋轉,體現出戰後日本的悸動脈搏,閃爍著霓虹之美,譜出一曲強有力的交響曲,歌頌生命、堅強不屈、當代性與彼此之間的關聯性,包羅萬象,莊嚴崇高。

1 Mark Stevens, "Everything is Illuminated", 紐約雜誌,2004年
2 《Atsuko Tanaka: Search for an Unknown Aesthetic》, 1954-2000, 23頁
3 Michel Tapié, “A Mental Reckoning of My First Trip to Japan”, 1957
4 《Atsuko Tanaka: Electrifying Art 1954-1968》, p. 71
5 同上,61頁
6 見2,22頁
7 同上,24頁

筆道II: 彩潑天下

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香港