Tuen Tony Kwok – Hans Bellmer 漢斯.奔馬 (1902-1975)

Gepubliceerd op 17 apr. 2017

Hans Bellmer (13 March 1902 – 24 February 1975) was a German artist, best known for the life-sized pubescent female dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer.

Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he’d been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925).

Bellmer’s doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer’s promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach’s Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl. The dolls incorporated the principle of “ball joint”, which was inspired by a pair of sixteenth-century articulated wooden dolls in the Kaiser Friedrich Museum

He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis.

漢斯奔馬(1902年3月13日 – 1975年2月24日)是德國的藝術家,他在30年代中期產生的真人大小的短柔毛女娃娃而聞名。藝術和攝影的歷史學家也認為他是一個超現實主義攝影師。

奔馬出生在城市Kattowitz,那麼德意志帝國(現為卡托維茲,波蘭)的一部分。直到1926年,他一直在努力為自己的廣告公司的繪圖員。他給他的娃娃項目,宣稱他將沒有工作,將支持新的德國政府反對納粹黨的法西斯主義。通過突變形式和非常規姿勢代表他的娃娃都在完美的身體,然後在德國著名的邪教專門針對。奔馬被閱讀奧斯卡·柯克西卡(DER Fetisch,1925)的信件發表在他所選擇的藝術形式的影響。

奔馬的娃娃項目也說是由一系列在他的個人生活事件的催化。漢斯奔馬採取信貸在父親挑起了物理危機,帶來了他自己的藝術創作與童年不服從和怨恨對嚴重和沒有幽默感的父權關係。也許這是一個原因,在奔馬的推廣他的藝術的文獻幾乎普遍,無條件地接受為對父親的鬥爭中,警方,最終,法西斯主義和狀態。他的個人生活的活動還包括在1932年(也許還有其他遙不可及的美女)滿足一個美麗的十幾歲的表妹,參加霍夫曼的雅克·奧芬巴赫的故事的性能(其中一名男子愛上淒楚與自動機),並接收了一箱他的舊玩具。這些事件後,他開始真正構建自己的第一個娃娃。在他的作品中,奔馬明確的性愛玩偶作為一個年輕的女孩。娃娃成立的“球頭”,這是由一對十六世紀的皇帝弗里德里希博物館鉸接式木娃娃啟發原則

他於1935年訪問了巴黎,並提出有接觸,如保羅·艾呂雅,而是因為他的妻子瑪格麗特病危肺結核返回柏林。

奔馬產於柏林第娃娃在1933年早已失去,該組合仍然可以正確地感謝大約二十幾照片奔馬了在其施工的時間描述。她身高約56英寸高,玩偶包括由亞麻纖維,膠水和石膏的模擬軀幹;與玻璃的眼睛和長,蓬亂假髮相同的材料製成的掩模狀頭;和一對從掃帚或銷棒製成的腿。一這些腿在一個木製的,俱樂部狀腳終止;其他被封裝在一個更自然石膏殼,在膝關節和踝關節接合。隨著項目的進展,奔馬做了第二組空心石膏的腿,用木球接頭娃娃的臀部和膝蓋。目前還沒有雙臂向第一雕塑,但奔馬沒有時尚或找到一個單一的木製手,其中玩偶部分在1934年的照片,無記錄的藝術家,以及在以後的工作中幾個照片的品種中出現。

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Reacties:
https://www.youtube.com/watch?v=4xw04Xf1R6k

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