Anselm Kiefer 1945 - Art Studio /Paul Celan: Myth, Mourning and Memory.Anselm Kiefer Wonders if We’ll Ever Learn 2025
Anselm Kiefer Wonders if We’ll Ever Learn
As a sprawling new exhibit opens in two museums in Amsterdam, the German artist fears that history is repeating itself.
Anselm Kiefer’s installation in the grand staircase of the Stedelijk Museum, in Amsterdam.Credit...Ilvy Njiokiktjien for The New York Times
[Exposition] « Pleinement,
la neige emplit cette mer
où le soleil flotte,
fleurit dans les paniers la glace
que tu portes vers la ville. »
« Voller,
da Schnee auch auf dieses
sommerduchschwommene Meer fiel,
blüht das Eis in den Körben,
die du zur Stadt trägst. »
Siegfried vergißt Brünhilde [Siegfried oublie
Brunehilde], 1975, Huile sur toile, 130 x 150 cm
MKM Museum Küppersmühle für Moderne Kunst,
Duisbourg, Ströher Collection
Photo : © Olaf Bergmann Witten
金融業瘋藝術，中信金（2891）子公司中信銀公告上半年購入3件藝術品，赫見德國藝術家安森．基佛今年2月在蘇富比晚拍油畫作品《秋天的神秘網紋：獻給保羅．策蘭》，市場預期3件藝術品潛在總價值將超過億元以上。
據了解，《秋天的神秘網紋：獻給保羅．策蘭》在蘇富比晚拍以98.9萬元英鎊（約5000萬元台幣）拍出，市場預期當時得主就是銀行，中信銀公告上半年購入此名畫。
See this image
Anselm Kiefer/Paul Celan: Myth, Mourning and Memory Hardcover – August 28, 2007
by
Andrea Lauterwein (Author)
Through Celan's linguistic innovations and Kiefer's intense exploration of past and present, artistic creation becomes both an expression of horror and an act of commemoration.
The art of Anselm Kiefer is rich with references to writers, philosophers, and poets, and his relationship with Paul Celan has been the most complex and intense of these dialogues with the past. Celan's poetry, inextricably linked with the memory of the Holocaust, has haunted Kiefer's work for more than twenty-five years and has influenced him on every level, from the naming of works and exhibitions to the incorporation of symbolic materials from Celan's imagery—sand, straw, hair, and ashes—into his paintings.
Like other German artists of his generation, Kiefer began by questioning his own artistic heritage, focusing on the iconographic and mythological elements of German culture that had been taken over by Nazi propaganda, and subsequently repressed and buried deep in the collective unconscious. It was his encounter with Celan's work in the early 1980s that first enabled him to escape from the vicious circle of fascination and disgust at the cultural ties that bound him to the Third Reich, leading him to confront the subject of the Holocaust and Jewish memory as a whole and to embrace this body of traditions within his art.
Magnificently illustrated throughout with reproductions of Kiefer's best-known works, this book explores the intricate web of associations between the poet and the painter, a network that is extended to embrace other artistic and literary figures such as Ingeborg Bachmann and Joseph Beuys. 157 illustrations, 140 in color.
Wikipedia
Anselm Kiefer (born March 8, 1945) is a German painter and sculptor. He studied with
Joseph Beuys and
Peter Dreher during the 1970s. His works incorporate materials such as
straw,
ash,
clay, lead, and
shellac. The poems of
Paul Celan have played a role in developing Kiefer's themes of German history and the horror of
the Holocaust, as have the spiritual concepts of
Kabbalah.
In his entire body of work, Kiefer argues with the past and addresses
taboo
and controversial issues from recent history. Themes from Nazi rule are
particularly reflected in his work; for instance, the painting
"Margarethe" (oil and straw on canvas) was inspired by
Paul Celan's well-known poem "
Todesfuge" ("
Death Fugue").
His works are characterized by an unflinching willingness to confront
his culture's dark past, and unrealized potential, in works that are
often done on a large, confrontational scale well suited to the
subjects. It is also characteristic of his work to find signatures
and/or names of people of historical importance, legendary figures or
places particularly pregnant with history. All of these are encoded
sigils through which Kiefer seeks to process the past; this has resulted in his work being linked with a style called
New Symbolism.
Kiefer has lived and worked in France since 1991. Since 2008, he has lived and worked primarily in Paris
[1] and in
Alcácer do Sal, Portugal.
[2]
Art critic for The New York Times, Robert Hughes Interview
http://www.youtube.com/watch?v=EeuJjPDRyZc
Anselm Kiefer Grane, Woodcut with paint and collage on paper mounted on linen,
Museum of Modern Art, New York.
推薦
YouTube
Robert Hughes on Anselm Kiefer
http://www.theguardian.com/artanddesign/2014/sep/12/anselm-kiefer-royal-academy-retrospective-german-painter-sculptor
Inside Anselm Kiefer's astonishing 200-acre art studio
德國當代最重要的藝術家之一 Anselm kiefer（安塞姆．基佛）目前正在法國國家圖書館舉辦以書為主的回顧展，展出1968年和2015年之間製作的作品，當然也包含他近期的繪畫和雕塑作品，安塞姆·基弗這次主要是以手工書為此次回顧的主題，這些巨大的手製書都是獨一無二的作品，其格式和內容發展了幾十年，他利用各種材料，如粘土，沙子、鉛，頭髮，植物，稻草，照片等不同質材來創造，對於藝術家來說，這些不同階段的手製書呼應著他的藝術歷程，相信這些書的雕塑是他創作的精神動力和演變，和現場陳列的作品如同是場精彩的對話，也展現出文學，哲學和歷史對他的影響和滋養。安塞姆·基弗的作品有著密集的啟示、神話、象徵和死亡，此次在“法國國家圖書館”的回顧展，以一種獨特且發人深省的方式模糊了文學和藝術之間的界限～
沒能到巴黎欣賞，藉由網路、圖片，也算可以止止渴～
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