文章转载自：一甸艺术（ID：gh_47d9d58c7cd3）

　　AN ART SPACE

　　Art and artists  Exhibitions and events  Artist interview

　
　Composite materials

　　LOUISE BOURGEOIS

　　路易丝·布尔乔亚

　　Composite materials by Louise Bourgeois

　　EDIT /  © Wu Yimiao

　　ARTIST  /  © Louise Bourgeois

　　POSTER /  © MuMu

　　PHOTO /  © Louise Bourgeois

　　TRANSLATE  /  © Xu Danhua

　　LSSUANCE OF PROMOTION / © AN ART SPACE

　　LOUISE BOURGEOIS'S BIOGRAPHY

　　路易丝·布尔乔亚 ｜Louise Bourgeois

　　Born in Paris, France, 1911

　　Sculptor, Painter, Critic and Writer

　　Died on May 31, 2010

　　LOUISE BOURGEOIS

　　Inside and outside

　　
Cell (The last climb), 2008
Steel, glass, rubber, thread and wood
151 1/2 × 157 1/2 × 118 in; 384.8 × 400.1 × 299.7 cm

　　In order to fully express my intolerable limits to this family, I must choose a form to vent my anxiety, and can constantly change, destroy and rebirth. For me, sculpture is the reproduction of the body, and my body is the essence of my sculpture.

　　
Passage Dangereux, 1997
Metal, wood, tapestry, rubber, marble, steel
104×140×345 in; 264.2×355.6×876.3 cm

　　By means of symbols, people can communicate more consciously. But you also have to understand that symbols are symbols. They are not flesh-and-blood exchanges.

Photo: © Louise Bourgeois

 ©Copyright 2019 · An Art Space

　　Inside and outside

　　● Exhibition scene

　　路易丝·布尔乔亚 ｜ 里里外外

　　对于我来说，雕塑就是躯体的再现，我的躯体就是我雕塑的本质。为了完全表达我对这个家庭不能容忍的极限，我必须选择一个形式发泄心中的焦虑，并且可以不断改变、毁灭并重生。

　　——路易丝·布尔乔亚

　　For me, sculpture is the representation of my body, and my body is the essence of my sculpture. In order to fully express the limits of what I could not tolerate in this family, I had to choose a form to express my anxiety in my heart, which could be constantly changed, destroyed and reborn.

　　——Louise bourgeois

　　2019

　　Louise Bourgeois

　　1947-2006｜WORKS

　　Composite materials

　　综合材料·1947-2006

　　Louise Bourgeois

　　Spider, 1997

　　Steel, tapestry, wood, glass

　　Fabric, rubber, silver, gold and bone

　　177×262×204 in; 449.6×665.5×518.2 cm

　　Cell (Choisy), 1990-1993

　　Marble, metal, and glass

　　120 1/2×67×95 in; 306.1×170.2×241.3 cm

　　Cell (Eyes & Mirrors) 1989-1993

　　Steel, limestone and glass

　　Cell (Choisy), 1990-1993

　　Collection Glenstone

　　Cell III, 1991

　　Metal, glass, fabric, bronze, steel, wood

　　81 1/2×87×83 in; 207×221×210.8 cm

　　Cell XXVI (detail), 2003

　　Steel, fabric, aluminum, stainless and wood

　　99 1/2 × 171 × 120 in; 252.7 × 434.3 × 304.8 cm

　　In and Out , 1995

　　Metal, glass, plaster, fabric and plastic

　　81 × 83 × 83 in; 205.7 × 210.8 × 210.8 cm

　　Cell VII, 1998

　　Metal, glass, fabric, bronze

　　Steel, wood, bones, wax and thread

　　81 1/2 × 87 × 83 in; 207 × 221 × 210.8 cm

　　Red Room (Parents) (detail) , 1994

　　Wood, metal, rubber, fabric, marble, glass and mirror

　　Lady in waiting, 2003

　　Tapestry, thread, stainless steel, steel, wood and glass

　　82 × 43 1/2 × 58 in; 208.3 × 110.5 × 147.3 cm

　　Red Room (Child), 1994

　　Untitled, 1947-1949

　　Bronze, painted white and blue, and stainless steel

　　51 4/5 × 12 × 12 in; 131.5 × 30.5 × 30.5 cm

　　Pillar, 1949-1950

　　Bronze，63 1/4 × 12 × 12 in

　　160.7 × 30.5 × 30.5 cm

　　Untitled, 1954

　　Painted bronze and stainless steel

　　55 1/2 × 21 7/10 × 12 in; 141 × 55.2 × 30.5 cm

　　Untitled, 2003

　　63 × 20 9/10 × 16 1/10 in; 160 × 53 × 41 cm

　　NATURE STUDY, 1984

　　Bronze, polished patina

　　29 1/2 × 20 1/2 × 15 1/2 in; 74.9 × 52.1 × 39.4 cm

　　Fragile Goddess, 1970

　　Bronze, gold patina

　　10 1/4 × 5 5/8 × 5 3/8 in; 26 × 14.3 × 13.7 cm

　　AVENZA REVISITED

　　Bronze with silver nitrate and polished patina

　　17 × 41 × 35 in; 43.2 × 104.1 × 88.9 cm

　　Give or Take (How Do You Feel This Morning?), 1990

　　Bronze

　　4 1/4 × 9 × 6 in; 10.8 × 22.9 × 15.2 cm

　　Give or Take (How Do You Feel This Morning), 1990

　　Cast and polished bronze sculpture

　　4 1/2 × 9 × 6 in; 11.4 × 22.9 × 15.2 cm

　　Fallen Woman (White, Black and Blue), 1996-1997

　　Porcelain, gilding

　　2 7/8 × 11 1/4 × 2 3/4 in; 7.3 × 28.6 × 7 cm

　　Fallen Woman, 1996

　　Black porcelain and polished gold

　　3 1/4 × 3 1/4 × 11 3/4 in; 8.3 × 8.3 × 29.8 cm

　　Fallen Woman, 1996

　　Porcelain biscuit and gold

　　12 1/5 × 3 3/20 × 3 3/20 in; 31 × 8 × 8 cm

　　Arch of Hysteria, 1993

　　Bronze, polished patina

　　33 × 40 × 23 in; 83.8 × 101.6 × 58.4 cm

　　Topiary, 2005

　　Bronze, silver nitrate patina

　　6 3/4 × 11 1/4 × 10 1/4 in; 17.1 × 28.6 × 26 cm

　　TOPIARY, 2006

　　Bronze, silver nitrate patina

　　8 7/10 × 9 3/10 × 4 in; 22.2 × 23.5 × 10.2 cm

　　FEMME, 2005

　　Bronze, silver nitrate patina

　　13 × 16 1/2 × 7 3/4 in; 33 × 41.9 × 19.7 cm

　　Knife Couple, 1949 (cast 1991)

　　Bronze and stainless steel

　　67 1/2 × 12 × 12 in; 171.5 × 30.5 × 30.5 cm

　　NATURE STUDY, 1986

　　White marble

　　35 × 61 × 29 in; 88.9 × 154.9 × 73.7 cm

　　Mamelles, 1991

　　Pigmented urethane rubber

　　19 × 120 × 19 in; 48.3 × 304.8 × 48.3 cm

　　Assaults, 1999

　　Wall relief; steel and lead

　　10 1/4 × 16 1/2 × 1/2 in; 26 × 41.9 × 1.3 cm

　　Pregnant Woman II, 1947-1949

　　Bronze coated and polished Ed. 4/6

　　52 × 16 × 16 in; 132 × 40.6 × 40.6 cm

　　Fée Couturière

　　Painted bronze

　　39 1/2 × 22 1/2 × 22 1/2 in; 100.3 × 57.2 × 57.2 cm

　　Figure, 1999

　　Fabric, pink Portuguese marble, metal and glass

　　8 7/10 × 17 1/2 × 10 1/5 in; 22.2 × 44.5 × 26 cm

　　Rondeau for L, Conceived in 1963 and cast in 1990

　　Bronze

　　11 × 11 × 10 1/2 in; 27.9 × 27.9 × 26.7 cm

　　The Couple, 2003

　　In and Out, 1995

　　Metal, glass, plaster, fabric, and plastic

　　The Loved Hand, Conceived in 1967 and cast in 1990

　　Bronze

　　9 × 12 1/10 × 8 in; 22.9 × 30.8 × 20.3 cm

　　Untitled (No. 2), 1996

　　Pink marble on steel base

　　26 × 31 × 25 in; 66 × 78.7 × 63.5 cm

　　UNTITLED , 2004

　　Pink marble

　　10 1/4 × 24 × 16 in; 26 × 61 × 40.6 cm

　　Untitled, 2001

　　Bronze with silver nitrate patina, in 3 parts

　　Untitled，Fur

　　Single III, 1996

　　Maman , 1999

　　Louise Bourgeois’ Spider

　　路易丝·布尔乔亚的蜘蛛

　　我的童年从未失去它的魔力，它从未失去它的神秘，它从未失去它的戏剧。

　　——路易丝·布尔乔亚

　　My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.

　　—Louise Bourgeois

　　
Louise Bourgeois: Structures of Existence – The Cells

　　The pair first met in 1980 when Jerry was hanging her work in a Soho gallery and the artist walked past the window. “I didn’t know the work so well and I’d only seen a few pieces, but I thought they were strong,” he says. He was 25 and she was 70.

　　
Louise Bourgeois: Structures of Existence – The Cells

　　Rather than a meeting of minds, their first conversation was an argument in which Bourgeois shouted at Jerry that he was hanging her work all wrong. “She could be quite aggressive and powerful, but then she calmed down after we had some tea. She then invited me to her house and so I saw even more of her work.”

　　
Louise Bourgeois: Structures of Existence – The Cells

　　At first, Jerry only worked for Bourgeois a few hours a week but slowly his role grew to assistant, manager and friend. Her career spanned 70 years but it was only later in life, with Jerry’s involvement, that she became more known. The work, rather than the fame, always remained priority for Bourgeois.

　　
Louise Bourgeois: Cell VI, 1991, Structures of Existence – The Cells

　　“I had to force her to go to a few of her own openings in the beginning even though she didn’t want to… She felt the whole thing was unnecessary, so was rarely involved in the commercial side of her work.”

　　
Louise Bourgeois: Passage Dangereux, 1997, Structures of Existence – The Cells

　　
Louise Bourgeois: Cell XXVI, 2003, Structures of Existence – The Cells

　　（编辑：王怡婷）