Joseph Beuys/Palazzo Regale (Neapel 1985)
No Thumbnail Available
Date
1995-06-??
Authors
曾曬淑
Journal Title
Journal ISSN
Volume Title
Publisher
國立臺灣師範大學研究發展處
Office of Research and Development
Office of Research and Development
Abstract
德國前衛藝術家Joseph Beuys(1921-1986)生前最後一件裝置作品「王宮」 (Palazzo Regale)為其作品中唯一與特定場地的建築及空間密切結合的作品。Beuys 因應義大利那不勒斯(Neapel)Capodimonte美術館(前波旁王朝(Bourbone)的夏宮 Palazzo Realedi Capodimonte)大理石地面的幾何圖形及強烈的色彩，創作出以水平及垂直線條為主，充滿莊嚴及神祕氣氛的PalazzoRegale。此件作品由二個鑲塗上金色的黃銅玻璃櫥窗及七個刷上溶於達麻樹脂漆的金箔的黃銅板組成口櫥窗之內陳放Beuys歷年來不同行動藝術中所使用過的道具及其私人物品。所有這些道具及物品均依照Beuys的「塑造的理論」(Plastische Theorie)，被做人體形狀的安置，旨在闡明人的生理構造及其功能，將人類由意志、情感、至思考之發展過程藉Beuys所慣用的物品如油脂、氈、毛皮、楔形等符號表達出來。位於中間的櫥窗象徵著棺郭，其內的死者具有國王般的尊榮與自主權。位於側邊的櫥窗則相當於陪葬品，是人生之旅不可或缺之物。Beuys的Palazzo Regale因結合其個人的與自然神話(Naturmythos)的象徵，而超乎一般固有象徵的範圍，故唯有進入其個人的思考體系之內，才能掌握其作品之真諦。本文分析Beuys此件作品中特殊的空間經驗、死亡的主題與各裝置物品的象徵意義後之結論為:此乃一件自傳體回顧式的裝置作品，以死者擁有君王之尊，強調人類的自主權，在寧靜而恢宏的氛圍裡(Ambiente)，臨死的Beuys至終不忘以傳播藝術理念為己任。
Palazzo Regale, the last installation work by the German avant-garde artist, JosephBeuys (1921-1986), is his only masterpiece that associates itself with a particular architecture and space. Inspired by the marble geometric patterns and contrasting colors ofCapodimonte Museum in Naples, Italy (formerly Palazzo Reale di Capodimonte of theBourbons), Joseph Beuys created Palazzo Regale, which is characterized with horizontaland vertical lines and is infused with an awesome, mysterious aura. This installation work is composed of two glass showcases framed with brass andseven brass plaques coated with golden foils and Dammarfirnis resin. Displayed in thecases are his personal belongings together with all the items Beuys had used in actionartistic works all through his life. With respect to his plastic theory (PlastischeTheorie), these objects and items are arranged to resemble human bodies and to depicthuman physiological structures as well as functions. That is to say, Beuys employed hiscommonly used items such as lard, carpets, fur, cuneiform, among others, to portraythe development from will, emotion, to thinking in mankind. The showcase in the middle represents a coffin, and the dead within commands kingly reverence and sovereignty(Souveranitat). The showcase nearby, on the other hand, is equivalent to the offeringsto the dead, which can be regarded as the necessities for life. Beuys' Palazzo Regale stands out as a combined symbol based upon the artist himself as well as natural mythology, thus surpassing the limited range of common symbolism. Therefore, the only way to appreciate the artistic talent in his works is to delveinto his theoretical structure. This thesis then aims to investigate the special space experience, the subject of death and the symbolic meanings of the installation of items inPalazzo Regale. And the conclusion is drawn as such: Palazzo Regale can be regardedas an autobiographical and retrospective installation work. It reveals sovereignty ofmank
Palazzo Regale, the last installation work by the German avant-garde artist, JosephBeuys (1921-1986), is his only masterpiece that associates itself with a particular architecture and space. Inspired by the marble geometric patterns and contrasting colors ofCapodimonte Museum in Naples, Italy (formerly Palazzo Reale di Capodimonte of theBourbons), Joseph Beuys created Palazzo Regale, which is characterized with horizontaland vertical lines and is infused with an awesome, mysterious aura. This installation work is composed of two glass showcases framed with brass andseven brass plaques coated with golden foils and Dammarfirnis resin. Displayed in thecases are his personal belongings together with all the items Beuys had used in actionartistic works all through his life. With respect to his plastic theory (PlastischeTheorie), these objects and items are arranged to resemble human bodies and to depicthuman physiological structures as well as functions. That is to say, Beuys employed hiscommonly used items such as lard, carpets, fur, cuneiform, among others, to portraythe development from will, emotion, to thinking in mankind. The showcase in the middle represents a coffin, and the dead within commands kingly reverence and sovereignty(Souveranitat). The showcase nearby, on the other hand, is equivalent to the offeringsto the dead, which can be regarded as the necessities for life. Beuys' Palazzo Regale stands out as a combined symbol based upon the artist himself as well as natural mythology, thus surpassing the limited range of common symbolism. Therefore, the only way to appreciate the artistic talent in his works is to delveinto his theoretical structure. This thesis then aims to investigate the special space experience, the subject of death and the symbolic meanings of the installation of items inPalazzo Regale. And the conclusion is drawn as such: Palazzo Regale can be regardedas an autobiographical and retrospective installation work. It reveals sovereignty ofmank