《红色阿巴坎》，1969 年
金属支架上的剑麻编织；苏黎世贝尔里夫博物馆藏品
“艺术并不能解决问题，但能让我们意识到问题的存在，它打开我们的眼睛去观察，打开我们的大脑去想象。”
——玛格达莱娜·阿巴坎诺维茨
玛格达莱娜·阿巴坎诺维茨（Magdalena Abakanowicz）出生于波兰的一个贵族家庭，童年时在波兰华沙郊外的家族庄园中过着与世隔绝的生活。直到第二次世界大战剥夺了她家所有的财产和地位。纵观她的整个职业生涯，她艺术的主题直接追溯到她早年的生活经历（尽管她的艺术语言是世界性的）。
《黄色阿巴坎》1970 Photo
© Tate (JoeHumphrys)
20世纪 50 年代，阿巴坎诺维茨就读于华沙艺术学院，这一时期的她将的大型纤维作品将编织与雕塑和装置融合在一起，创造出具有令人不安和震撼人心的存在感的物品。《黄色阿巴坎》的形态由纺织品的悬垂性决定，纺织品由剑麻粗织而成，剑麻是一种用于制作绳索的工业植物纤维。伤痕累累的接缝和解剖附属物赋予作品一种形象的特质，阿巴坎诺维奇继续在用硬化纤维铸造的大型雕塑中探索这种特质。
孤立、匿名、服从和压迫等主题是她作品中的共同主题，空间体验也是她作品的重要组成部分。阿巴坎诺维茨的作品以其独特的材料运用和创新的形式著称。她擅长使用剑麻、羊毛、麻布、马毛等有机材料，通过编织、染色和悬挂等手法，创造出既柔软又充满力量的雕塑作品。这些作品往往规模宏大，高耸的雕塑悬挂在天花板上，充满了对政治制度和个人命运的深刻反思。
她通过抽象的形式和具象的元素，探讨了战争、苦难和人类身体在极端环境下的状态。在她的作品中，经常可以看到扭曲的表面、断裂的线条和残缺的形体，这些元素不仅是对战争暴力的隐喻，也是对人类身体和心灵创伤的深刻描绘。阿巴坎诺维茨的作品不仅关注材料和主题，还非常注重形式和空间的探索。她善于利用雕塑的体量感和空间感，创造出一种沉浸式的艺术体验。她的作品往往不是孤立的物体，而是与周围环境融为一体，形成一个整体的艺术环境。
《背》1976–80
© Marta Magdalena Abakanowicz-Kosmowska
and Jan Kosmowski Foundation
20 世纪 60 和 70 年代，阿巴坎诺维茨用编织纤维创作了激进的雕塑。这些雕塑柔软而不坚硬，既含糊又有机，高耸的作品悬挂在天花板上，开创了一种新的装置艺术形式。她开始创作具象纺织作品，创作出她最著名的无头和支离破碎的人体形象。她开始接受公共委托，这使她从纺织品转向青铜、木材、石头和粘土等材料。
阿巴坎诺维茨的艺术创作受到二战期间和战后在波兰纳粹和苏联占领下的经历的影响。虽然她的灵感来源于自传，但她的雕塑作品却具有一种模糊性，鼓励人们进行多种解读，广泛地反映了人类的经历。
《兰花一世》，编织和染色的剑麻和羊毛，1973
© Magdalena Abakanowicz
“Art does not solve problems, but makes us aware of their existence,” she has said. “It opens our eyes to see and our brain to imagine.”
Born in 1930 to an aristocratic Polish family, Magdalena Abakanowicz experienced an isolated childhood on her family’s estate outside Warsaw, Poland. Throughout her career the themes in her art would directly lead back to her early life experiences, although her language was universal.
《四个坐着的人物》，麻布、树脂和铁棒，2002 年
© Magdalena Abakanowicz
In the 1950s Abakanowicz studied at the Academy of Art in Warsaw. Abakanowicz's massive fiber works fuse weaving with sculpture and installation to create objects with a disquieting and visceral presence. Yellow Abakan's form is determined by the drape of the textile, which is coarsely woven from sisal, an industrial plant fiber used to make rope. The scarred seams and anatomical appendages lend the work a figural quality, something Abakanowicz continues to explore in large-scale sculptures cast in hardened fiber.
《橙色阿巴坎》1971
© Magdalena Abakanowicz
Themes of isolation, anonymity, obedience, and oppression are common threads in her work. Abakanowicz often combines groups of figures or animals that occupy a single space.The works of Abakanowicz are renowned for their unique application of materials and innovative forms. She excels in utilizing organic materials such as sisal, wool, linen, and horsehair, and through techniques like weaving, dyeing, and suspension, creates sculptures that are both soft and imbued with strength. These works often feature grand scales, with towering sculptures suspended from the ceiling.Abakanowicz's artworks are imbued with profound reflections on political systems and individual destinies.
《胚胎学》1978–80
© Magdalena Abakanowicz
Through abstract forms and concrete elements, she delves into the state of war, suffering, and the human body in extreme environments. Her works frequently feature distorted surfaces, fractured lines, and incomplete forms, which serve not only as metaphors for the violence of war but also as poignant depictions of the physical and emotional trauma endured by humanity.Beyond materials and themes, Abakanowicz's creations are deeply invested in the exploration of form and space. She adeptly harnesses the volumetric and spatial sensations of her sculptures to create immersive artistic experiences. Her works rarely stand as isolated objects but rather integrate seamlessly with their surroundings, forming a holistic artistic environment.
《 胭脂色阿巴坎III,》1971
© Magdalena Abakanowicz
In the 1960s and 70s, the Polish artist Magdalena Abakanowicz created radical sculptures from woven fibre. They were soft not hard; ambiguous and organic; towering works that hung from the ceiling and pioneered a new form of installation. Creating the headless and fragmented human forms for which she is best known. She began receiving public commissions, which led her beyond textiles to materials such as bronze, wood, stone, and clay.
Abakanowicz’s art was affected by her experiences in Poland under Nazi and Soviet occupation during World War II and its aftermath. Although she drew inspiration from her autobiography, her sculptures possess an ambiguity that encourages multiple interpretations, speaking broadly to human experience.
｜关于艺术家｜
玛格达莱娜·阿巴坎诺维茨 1930 年出生于波兰，成年时期正值第二次世界大战。在共产主义政权统治下的波兰，她开启了国际艺术家的职业生涯，其作品被世界各地的许多公共和私人收藏。
Magdalena Abakanowicz was born in 1930 in Poland and came of age during the Second World War. Living in Poland under the Communist regime, she established a career as an international artist and her work is included in many public and private collections around the world.
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