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Jacob Dahlgren(生于1970年)生活和工作于瑞典斯德哥尔摩。1994年至1999年就读于斯德哥尔摩皇家美术学院,并于1999年获得艺术硕士学位
雅各布·达尔格伦(Jacob Dahlgren)的作品关注的是纯粹形式抽象的权威奇点与其在变量中的位置之间的对话。复杂的社会共享文化。Dahlaren反复收集无所不在的普通物品,通常是国内的、工业制造的;它们的格式塔形式代表了高级现代主义抽象绘画,代表了20世纪艺术理论为其划定的所有意识形态领域。然而,这些有贡献的物品象征着社会的集体和人类方面,每一个都代表着个人的选择,被消费者以独特的方式使用或消费。这些物品共同代表了群体或社区,因此它们变得民主而不是专制。
Jacob Dahlgren (b.1970) lives and works in Stockholm Sweden. He studied between1994-99 at The Royal institute of Fine Art Stockholm and he received his M.F.A. 1999
Jacob Dahlgrens work is concerned with a dialogue between the authoritative singularityof pure formal abstraction and its position within a variable. complex and social sharedculture. Dahlarens repetitious collections of ubiquitous and ordinary objects, oftendomestic, industrially manufactured; stand in their gestalt form as proxy for HighModernist Abstract Painting and for all of the ideological territory that Twentieth CenturyArt Theory has staked out for it. The contributing objects, however, signify a collective andhuman aspect of society, each representing an individual choice, to be used or consumedin a unigue way by its consumer. Together these objects stand for the group orcommunity, and as such they become democratic rather than authored.
雅各布·达尔格伦(Jacob Dahlgren)的作品关注的是纯粹形式抽象的权威奇点与其在变量中的位置之间的对话。复杂的社会共享文化。Dahlaren反复收集无所不在的普通物品,通常是国内的、工业制造的;它们的格式塔形式代表了高级现代主义抽象绘画,代表了20世纪艺术理论为其划定的所有意识形态领域。然而,这些有贡献的物品象征着社会的集体和人类方面,每一个都代表着个人的选择,被消费者以独特的方式使用或消费。这些物品共同代表了群体或社区,因此它们变得民主而不是专制。
Jacob Dahlgren (b.1970) lives and works in Stockholm Sweden. He studied between1994-99 at The Royal institute of Fine Art Stockholm and he received his M.F.A. 1999
Jacob Dahlgrens work is concerned with a dialogue between the authoritative singularityof pure formal abstraction and its position within a variable. complex and social sharedculture. Dahlarens repetitious collections of ubiquitous and ordinary objects, oftendomestic, industrially manufactured; stand in their gestalt form as proxy for HighModernist Abstract Painting and for all of the ideological territory that Twentieth CenturyArt Theory has staked out for it. The contributing objects, however, signify a collective andhuman aspect of society, each representing an individual choice, to be used or consumedin a unigue way by its consumer. Together these objects stand for the group orcommunity, and as such they become democratic rather than authored.
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