Giacometti, The Palace at 4am발음듣기
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Giacometti, The Palace at 4am
30문장
100% 한국어
번역 7명 참여
출처 : 칸아카데미
Giacometti, The Palace at 4am
Zucker: We're looking at Alberto Giacometti's The Palace at 4 a.m.
We're in the Museum of Modern Art.
It's really interesting that all this verticality in Giacometti's work after the war and a lot of horizontality in Giacometti's work earlier.
Harris: Although I sense the same sense of frigility and tenuousness here in the structures of this house that seems to be outlined, kind of with sticks.
Zucker: That's true and they're very delicate sticks and they're not especially well-wrought. It seems like sort of a weekend project kind of thing.
Harris: It does.
Something a child would make almost.
Zucker: Oh that's true.
Yeah, there's a very wonderful kind of child-like quality here, but also a kind of stage-like quality, as if what's taking place is sort of enacted before us.
So the Palace at 4 a.m.
And clearly what Giacometti's talking about is the unconscious, his dream.
Harris: So we have a female figure on the left.
Zucker: Almost like a little chess piece.
Harris: Standing very vertically and proper.
Zucker: Very erect and very much a kind of presence.
Harris: Super-ego perhaps, suggesting what one should do.
And then also having that kind of super-ego feeling is that phallic shape.
Zucker: Oh, see I saw that as the Id. Harris: Oh, really?
Zucker: Yes. Harris: I saw the Id as the dinosaur-bird figure in the upper right.
Zucker: The pterodactyl.
Harris: And also that embryonic spine that seems to be in a kind of cage in the lower right.
Zucker: And it's almost as if we're in the Museum of Natural History.
And I think it's important to remember that psychoanalysis at this time was being seen by the surrealists in France really second-hand as linked to this idea of kind of a primordial past, as somehow the unconscious being linked to some ancient truth.
Harris: Some truth about the human species.
Zucker: About our most sort of fundamental instincts and desires.
So here we have then this stage where, every night, Giacometti's unconscious in a sense enacts itself, or perhaps ours.
Harris: But it's all held together with string and glue, and maybe that's a good representation of the unconscious mind.
Zucker: I think so.
And its mutability, its flexibility, that it's rebuilt every night, perhaps. Absolutely.
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It's really interesting that all this verticality in Giacometti's work after the war and a lot of horizontality in Giacometti's work earlier.발음듣기
대기중
Harris: Although I sense the same sense of frigility and tenuousness here in the structures of this house that seems to be outlined, kind of with sticks.발음듣기
대기중
Zucker: That's true and they're very delicate sticks and they're not especially well-wrought. It seems like sort of a weekend project kind of thing.발음듣기
대기중
Yeah, there's a very wonderful kind of child-like quality here, but also a kind of stage-like quality, as if what's taking place is sort of enacted before us.발음듣기
대기중
Harris: And also that embryonic spine that seems to be in a kind of cage in the lower right.발음듣기
대기중
And I think it's important to remember that psychoanalysis at this time was being seen by the surrealists in France really second-hand as linked to this idea of kind of a primordial past, as somehow the unconscious being linked to some ancient truth.발음듣기
대기중
So here we have then this stage where, every night, Giacometti's unconscious in a sense enacts itself, or perhaps ours.발음듣기
대기중
Harris: But it's all held together with string and glue, and maybe that's a good representation of the unconscious mind.발음듣기
대기중
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