《LA GUARDIA VISTAS》
年份: 2020
材料: 涂料墨水和乙烯基贴膜安装在玻璃上
尺寸: 高1284厘米 x 宽8177厘米
委托方: LaGuardia Gateway Partners与Public Art Fund合作
类型: 永久性装置，由Public Art Fund纽约策划
摄影: Nicholas Night 和 Daniel Finch
艺术家: Jeppe Hein, Sabine Hornig, Laura Owens, Sarah Sze - LaGuardia机场B航站楼 - Public Art Fund
相关报道: 或许会让你想去La Guardia的艺术 - 纽约时报
Sabine Hornig的作品《La Guardia Vistas》是一个覆盖大面积玻璃幕墙的大型摄影拼贴画，它既是对著名市长及机场创始人Fiorello La Guardia（1882-1947）的致敬，也是对纽约市天际线建筑壮丽景象的表现。这件作品装饰于连接LaGuardia机场新B航站楼到达和出发大厅与B航站楼停车场的人行天桥超过11,700平方英尺的玻璃幕墙上，创造了一个倒置的纽约市天际线形象，用色彩、图像和文字填充了整个连接通道。该构图由Hornig拍摄并无缝拼接在一起的1104张独立照片组成。
从皇后区看到的天际线图像像阴影一样投射在玻璃上，在晨光中以倒置的金色形态从上方降下。第二幅描绘夜晚城市景观的图像则从下方升起，填充空隙并与金色天际线相交。这两个天际线共同创造出一种雕塑般的感知效果，使内部与外部、白天与黑夜相互转换。前景中的金色变为背景中的日出天空，而下方的蓝色背景则成为图像中的夜间前景。
这些正负二元性的图像将我们引入对比之中，反映为城市空间中的同时发生的现象。这种同步性参考了La Guardia关于纽约市独特形象的观点，即“整个世界的缩影”（Bayor, 2018）。艺术作品不仅提供了城市的全景视图，同时也让观众有机会近距离观察细节和“成千上万的小人物”（纽约时报, 1945）。
同时，交错的天际线将城市的不同区域结合在一起，象征性地反转了建筑物的层次结构，最高的摩天大楼与最小的房子相遇。这种汇聚反映了城市的积极抱负，比如关于财富自上而下渗透或自下而上增长的不同经济理论。这两种天际线共同形成了一个色彩和细节上的节奏组合，如同城市的心跳。
该作品将纽约天际线与文本元素结合起来，将前纽约市市长演讲和著作中的片段编织进图像中。将文本与图像结合赋予了作品一种当代且永恒的丰富性。作为城市历史上的重要人物以及现代纽约市的贡献者，La Guardia的观点代表了纽约的历史、个性和精神。他在大萧条时期呼吁纽约人团结一致的话语，在困难时期依然具有持久的意义，鼓励纽约人“以耐心和勇气”团结起来。
LA GUARDIA VISTAS
2020
Latex ink and vinyl mounted on glass
1284cm high x 8177cm wide
Commissioned by LaGuardia Gateway Partners in partnership with Public Art Fund
Permanent installation, curated by Public Art Fund, New York
Photos by Nicholas Night and Daniel Finch
Jeppe Hein, Sabine Hornig, Laura Owens, Sarah Sze: Terminal B at LaGuardia Airport - Public Art Fund
Art That Might Make You Want to Go to La Guardia - The New York Times
Sabine Hornig's artwork, La Guardia Vistas, a large photographic collage covering an extensive glass façade, combines an homage to the famous Mayor and founder of the airport, Fiorello La Guardia (1882-1947) with the architectural majesty of the New York City skyline. Adorning over 11,700 square feet of glass curtain wall facade of the pedestrian bridge connecting the Arrivals and Departures Hall of LaGuardia Airport’s new Terminal B with the Terminal B parking garage, the dramatic invented image of an inverted New York City skyline washes the connector with colour, image and text. The composition comprises 1104 individual photographs taken and seamlessly woven together by Hornig.
An image of the skyline, as viewed from Queens, is projected onto the glass like a shadow, descending from above as inverted, golden forms in morning light. A second image of a nighttime urban cityscape rises up from below, filling the interspaces and intersecting with the golden skyline. Together these skylines create a sculptural perception of the city, where inside and outside and day and night interchange. The golden foreground becomes a sunrise sky in the background, and the blue background below becomes a nighttime foreground in the image.
Emerging from positive and negative binaries, these two images introduce us with contrasts, reflected as simultaneous occurrences in the city space. This simultaneity references La Guardia’s view of New York City’s unique image as “the entire world in microcosm“ (Bayor, 2018). The artwork portrays a large-scale overview of the city, while also providing the opportunity to move closer and see the details and the “thousands of little people“ (The New York Times, 1945).
Simultaneously, the intersecting skylines bring together contrasting areas of the city, symbolically reversing the hierarchies of the buildings with the tallest skyscrapers meeting the smallest houses. This convergence references the positive ambition of the city, such as opposing economic theories of the idea of wealth trickling down from above and that of wealth rising up from the bottom. Together these two skylines form a rythmic composition in colour and detail, like the heartbeat of the city.
The work brings together the New York skyline and textual elements, weaving fragments from the speeches and writings of the former New York City Mayor into the image. Combing text with image brings a richness to the work, in a contemporary, timeless way. As an important figure in the city’s history and contributor to the contemporary New York City, La Guardia’s views represent the history, individuality and the spirit of New York. His words, which called on the qualities of strength and solidarity in New Yorkers during the time of the Great Depression, are still enduring in difficult times, where New Yorkers can come together “with patience and fortitude.“
Sabine Hornig
2020
Quoted texts courtesy of:
Bayor, Ronald H. Fiorello La Guardia: Ethnicity, Reform, and Urban Development. Hoboken: Wiley, 2018; Brodsky, Alyn. The Great Mayor: Fiorello La Guardia and the Making of the City of New York. New York: St. Martin’s Press, 2003; Fiorello H. La Guardia Collection, La Guardia and Wagner Archives, La Guardia Community College, CUNY, Long Island City, NY; The New York Times TimesMachine; Rossini, Daniela. Woodrow Wilson and the American Myth in Italy. Cambridge: Harvard University Press, 2008; Williams, Mason B. City of Ambition: FDR, La Guardia, and the Making of Modern New York. New York: W. W. Norton, 2013.
Sabine Hornig gratefully acknowledges Arnold Dreyblatt, Markus Hannes, Bettina Hertrampf, Dirk Lebahn, Hilette Lindeque, Mark Pokorny, Martin Rossmann, Annette Überlein, Edye Weissler, ColorX (Serhat Cokuk, Gary Teich), Grieger GmbH (Jörg Lotz, Ute Zeise), Phase One, Heinz Papst, The Municipal Archives New York, The New York Times Archive, The Public Library, Ronald H. Bayer, Adrian Benepe, Joel Draper, Thomas Kessner, Mason B. Williams, and Tanya Bonakdar Gallery New York-Los Angeles.
