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Week 2 レイチェル・ホワイトリード

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◎レイチェル・ホワイトリード
1963年4月20日ロンドン生まれ。
ヤングブリティッシュアーティストのひとり、女性初のターナー賞受賞者。
1997年、ローヤルアカデミーで行われた「センセーショナル」展にて作品発表

◎作者の言葉
*レイチェル・ホワイトリードが日常の身の回りにあるものを
テーマに扱う理由ともなるものとして…

「初期作品では、個々の家具がもつ意味が重要でした。とくに自分との関係において。
どの家具も子ども時代から慣れ親しんできたようなタイプのものばかりです。
特定の家具は、特定の時代や地域の文化を反映しているので、
あるタイプの家具にこだわることで、私の視点がなにに向けられているのか
はっきり呈示されるわけです」

「ベットは素材が柔らかいから自由がききます。表面をピンと張らせることもできるし、
また皺を寄せることも可能だからです。また、ベッドにはそこに寝ていた人の
存在が染み付いています。ベッドは人間の身体の型であるともいえます」 

*代表作のひとつである《無題(ハウス)》および自作のある側面での解説ともなるもの…

「……ヴィクトリア時代の建物に、50~60年代の室内装飾が施されていることがわかった。
たとえば、ヴィクトリア時代のジョージア様式の内装が、とても入念に覆われているんです。
暖炉をふさいでアルコーヴにしたり、古い刳型(くりかた=家具や建物の表面をえぐった装飾)
に漆喰を塗ってモダンな感じにしたり、室内装飾は信じられないほど手が込んでいました。
もっとも、私が本当にあらわにしたかったのはこうした内装に隠されている建物の本来の
骨格にほかならないのですが」

「私の仕事は、凹のスペースから構成された物体を作ることです。
備品は作品を発展させるための基礎として使います。私が作る物体は墓のようなもの。
何かが幽閉されている状態で、何かがなかにあることはわかっていてもそれが
何だか見えないようなもの。…(中略)…

石膏は死んだ素材です。
しかし、表面はとても繊細でテーブルの下にあるような染みやクモの巣などの
ディテールをうまく拾ってくれます。
それらに防腐処理を施し、空間や静寂の感覚をミイラ化して残すのです」

*キャスティング(型への流し込み)の技法を使用する意義ともいえるもの…

「なにを流し込むとなにができるのだろう」といったひじょうに単純な興味を覚えました。
子どもの遊びに近い感覚ね。それから、見えないものをあらわにしたいと思い、
やがて見えないなにかに意義を与えたいという方向に進みました」

*制作態度を示すもののひとつとして…

「私の場合、「自己」「他者」「世界」との関連を求めるために作品を制作しています。
だからこそ作品にはリアリティがあって、より現実に近いのかもしれない。
それで世界が変われば形態も変わるでしょうが、未来は予測できない」

◎家族
Whiteread was born in London and raised in the Essex countryside,
until aged seven, when the family returned to London. She is the third of three sisters — the older two being identical twins.
Rachel Whiteread's mother, Pat Whiteread, was also an artist.
She died in 2003 aged 72, the death having a profound impact on Rachel's work.
Her father was a geography teacher, polytechnic administrator and lifelong supporter of the Labour Party, who died when Whiteread was studying at art school in 1989.

Rachel trained in painting at The Faculty of Arts and Architecture, Brighton Polytechnic,
was briefly at the Cyprus College of Art,
and later studied sculpture at London's Slade School of Art.

For a time she worked in Highgate Cemetery fixing lids back onto time-damaged coffins.
She began to exhibit in 1987, with her first solo exhibition coming in 1988.
She lives and works in a former synagogue in East London
with long-term partner and fellow sculptor Marcus Taylor. They have two sons.

◎作品紹介
■Ghost (1990)
In 1990 she expanded on her earlier work with Ghost, the first of her works to cast an entire living space and the first to bring her to the attention of the public and critics. Like her earlier works, it shows signs of a place having been lived in, with patches of wallpaper and specks of colour from paint discernible on the walls. It is a cast of an entire room, and this motif was expanded in 1993 with House. It was purchased by the collector Charles Saatchi.
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■House (1993)
House, perhaps her best known work, was a concrete cast of the inside of an entire Victorian terraced house completed in autumn 1993, exhibited at the location of the original house — 193 Grove Road — in East London (all the houses in the street had earlier been knocked down by the council). It drew mixed responses, winning her both the Turner Prize for best young British artist in 1993 and the K Foundation art award for worst British artist. Tower Hamlets London Borough Council demolished House on 11 January 1994,[4] a decision which caused some controversy itself.imaginative sculptures created by an English artist this century.
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■Untitled (One Hundred Spaces) (1997)
For the Sensation exhibition in 1997, Whiteread exhibited Untitled (One Hundred Spaces), a series of resin casts of the space underneath chairs. This work can be seen as a descendant of Bruce Nauman's concrete cast of the area under his chair of 1965.

■ Tower (1998)
In 1998, Whiteread made Water Tower as part of a grant for New York City's Public Art Fund. The piece was a translucent resin cast of a water tower installed on a rooftop in New York City's SoHo district. Just as Ghost led on to the larger and better known House, so Water Tower led to the more public Trafalgar Square plinth work three years later.

■Holocaust Monument (2000) Judenplatz, Vienna
Whiteread's casts often seem to emphasise the fact that the objects they represent are not themselves there, and critics have often regarded her work to be redolent of death and absence. Given this, it is perhaps not surprising that she was asked by Austrian authorities to create a work in remembrance of Austrian Jews killed during the Holocaust. Due to political sensitivities and bureaucracy the process, from commission to unveiling, took five years.[9]
The work turned out to be Judenplatz Holocaust Memorial (2000; also known as Nameless Library) and is located in the centre of the Judenplatz in Vienna. It is a work in cast concrete, with the walls made up of rows of books, with the pages, rather than the spines, turned outward; this can be regarded as a comment on Jews as a "people of the book" and the Nazi book burnings.
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■Snow Show (2004)
"The challenge has been to work in collaboration with an architect [Finnish architect Juhani Pallasmaa] in a completely unfamiliar material. At this point, there is a 3-dimensional model of an actual stairwell space in East London, electronic imagery and a wooden mould that is being constructed in Rovaniemi, Finland. I know that the piece will be made from snow and will have a feeling of solidity; the viewer will be able to walk into it. The form is based upon a simple stairwell space that has been turned by 90 degrees. The exterior of the piece is a pragmatic solution simply reflecting the complex geometry of the interior. The new space should feel familiar and domestic. I hope that it will disorientate the viewer and make one think of other places.

■Embankment
In spring 2004, she was offered the annual Unilever Series commission to produce a piece for Tate Modern's vast Turbine Hall, delaying acceptance for five to six months until she was confident she could conceive of a work to fill the space. Throughout the latter half of September 2005 and mid-way into October her work Embankment was installed and was made public on October 10. It consists of some 14,000 transluscent, white polyethylene boxes (themselves casts of the inside of cardboard boxes) stacked in various ways; some in very tall mountain-like peaks and others in lower (though still over human height), rectangular, more levelled arrangements. They are fixed in position with adhesive.
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by TDGARTSEIKATSU | 2009-11-13 18:34 | W2 R・ホワイトリード