🦆播放音乐，黑鹅发光🦆
黑鹅台灯
2004
Taxidermy goose, metal, acrylic paint, resin and lamp
20 x 23-1/2 x 15- 3/4 in (50,8 x 59,7 x 39,4 cm)
Rescued from the trashcan of an old taxidermy museum, the taxidermy bird with a broken neck get’s given a new life as and reconstructed to become an iconic classic. The Duck Lamp by New York based artist and designer Sebastian ErraZuriz is an eerie, yet funny and beautiful object that explores the borders between sculptural and functional of both art and design.
2010
Snow goose taxidermy, stainless steel and fan
H:68 x W:42x D:12 in.
This limited edition art work features a taxidermy duck mounted in a diving position and facing a custom-designed industrial fan. When the machine’s propeller is turned on, the animal’s small white feathers shiver from the resulting gust of wind. For a few seconds, the viewer fears that the duck’s delicate feathers are going to fly off completely. The duck’s continuous silent resistance steals a smile and reminds the viewer that ducks fly against the wind everyday.
2016
Taxidermy bird, Brass and Mirror.
13 x 19 x 9 in.
“I wanted to create a small piece that could try to talk about death and narcissism in this crazy era of Art Fair selfies” explains Sebastian ErraZuriz referring to his latest exploration in the blurry lines between art and design.
The artist/designer continues: “The art fair boom has replicated itself in every city. Within every city and every art fair, the same artworks are replicated in every booth. Of all these replicated artworks the most popular appears to be: "Mirrored Artworks" which basically reflect back on the collectors, gallerists and socialites that flood these events looking for props to take selfies with.”
“On the Edge Staring at Eternal Infinity” reminds us that the artist used to be the narcissist: their famous ego of artist was historically considered a necessary evil often required to create deeply reflective and introspective artworks. Nevertheless today the artist’s ego and creative result seems overshadowed by the much more powerful narcissism of the collector, the socialite and their true passion: The art of the self. Or maybe: “the art of the selfie", where being seen amongst art is now more important than seeing art.
“On the Edge Staring at Eternal Infinity” was created for the context of the fair as a comment on this new trend that tends to take away the attention from the art and to increase everyone’s tendency to narcissism. The delicate taxidermy bird that seems to be staring at itself in the mirror, forces the viewer to confront the temptation to look at his own reflection when also looking at the art piece echoing death and it’s eternal reflection.
Sebastian ErraZuriz explains: “The art world was always accused of being embedded in "Smoke and Mirrors". Today that smoke has gone and we are only left with the mirrors. These Mirrored Artworks repeated in every booth that are the reflection of our times, a populist, Trumpian portrait that the art market may deserve?”
2002
Lacquered wood, fluorescent tube and electrical components.
Santo, or the "Saint chair" is a signed and numbered limited edition piece, hand crafted out of native Chilean wood, which is later dyed. The halo on top of the chair lights up to "illuminate" the innocent reader. The piece represents another exercise on his personal obsession with life and death and his consequent urge to playfully yet seriously invite people to look again.
Athena Lemnia:
2018
Mystic white marble, patinated bronze, resin composite
H68 x L39 x D39 cm / H26.8 x L15.4 x D15.4 in
Meleager:
2018
Mystic white marble, patinated bronze, resin composite
H68 x L39 x D39 cm / H26.8 x L15.4 x D15.4 in
This work is a part of a new exhibition in David Gill Gallery based at London. The exhibition will showcase Greek and Roman masterpieces from renowned museums, 3D scanned, digitally manipulated and re-cast in marble as functional sculptures.
"I use technology to “steal” classical sculptures I have revered since childhood. Claim their shapes as raw material to build my own new works. It’s an act of gluttony and lust to appropriate that which belongs to the sacred world of the arts and use it freely in an exploration of its boundaries within the realm of the functional and the mundane. "– Sebastian Errazuriz.
Following his recent ‘Antiquity’ (2014) in which Errazuriz transformed the historic icon into a functioning bookshelf, this new series of limited-edition works pay homage to ancient sculpture while blurring the boundary between art and design. For the Bookcase ‘Antiquity Shelves Nike’ (2017), a replica of the headless Nike (Winged Goddess) is enveloped in a wooden ‘scaffold’ that functions as shelving. Errazuriz’s experimentation with innovative processes in design and art include augmented and virtual reality.
Parallel to the investigation between art and design, Errazuriz dives headstrong into the question of breakage as a vital aesthetic resource, whether it is historical and accidental, or artistic and purposeful. "Many of the sculptures we have learned to love and revere are broken, fragmented.Would they be as mysterious and fascinating to us if we could see them in their pristine original appearance?”
Errazuriz confronts various subjects and intellectual questions in this series of works, maintaining the precarious balance of tension and release, reverence and sacrilege, delicacy and brutality
2013
Marble, Stainless steel component
H: 18 x W: 48 x D: 10 in (45,7 x 121,9 x 25,4cm)
The Caesar Bench created by artist Sebastian ErraZuriz was originally named: "Empires will fall, heads will roll". Julius Caesar depicted in the bench was famously remembered for transforming the Roman republic into the Roman Empire and becoming the first dictatorship until he was murdered and his reign was toppled.
The bench, was designed to be exhibited at the Fairchild Gardens. When Sebastian originally saw photographs of the lavish privately owned gardens and adorned by sculptures they reminded him of a tropical version of the luxurious gardens of Versailles where during the French revolution the rebels entered the gardens and their sculptures narrowly escaped being broken down and being melted into ammunition to fight the revolution.
The use of Julius Caesar's busts as mere cinder blocks for people to sit in an almost profane and mundane way invites the viewer/user to remember today's empires and leaders will most surely be toppled tomorrow.
2012
wood, paint and bronze door viewers
Art gallery Departemento 21 (Apartment 21) is a well-know Chilean contemporary art gallery established on two floors of a residential apartment building in Santiago. The gallery was set behind a plain unmarked door, with no signs that announced it as a gallery. After several years, the gallery director commissioned Sebastian Errazuriz to redesign the entry door of the gallery, as a sculpture, an art piece in itself.
While attempting to come up with a concept, Errazuriz explains : « I tried to resist ‘designing a door’. I didn't want to create a door that was sculptural or pictorial ; I wanted the door to hopefully continue to blend in with the rest of the building and maintain its apparent anonymity as just another apartment. Nevertheless, I also wished to leave a small clue that would invite the passerby to stop, look twice, and suspect that something was different. It occurred to me that we have used door viewers for a couple hundred years. We have been stupidly squinting and closing one eye for all of this time, and yet never thought to have a two viewer instead, even though binoculars have been around for even longer ?
The two viewers are placed inverted inside the door, thus allowing people outside to approach the door and look inside the apartment, seeing the current exhibition, which remains illuminated even when the gallery is closed.
2002
Lacquered wood, fluorescent tube and electrical components.
Santo, or the "Saint chair" is a signed and numbered limited edition piece, hand crafted out of native Chilean wood, which is later dyed. The halo on top of the chair lights up to "illuminate" the innocent reader. The piece represents another exercise on his personal obsession with life and death and his consequent urge to playfully yet seriously invite people to look again.
ABOUT
Sebastian Errazuriz (1977)
Chilean born, New York based artist and designer Sebastian Errazuriz was raised in London, obtained a design degree in Santiago and a Master’s in Fine Arts from New York University.
Artist, Designer and Activist Sebastian Errazuriz has received international acclaim for his original and provocative works on a variety of areas and disciplines. Tackling everything from political artworks to giant public art projects, experimental furniture to product design and women’s shoes to motorcycles. His work is always surprising and compelling, inviting the viewer to look again at realities that were often hidden in front of their own eyes.
A prodigious and obsessive workaholic, Sebastian became, at the age of 28, the second living South American artist to have work auctioned at Sotheby’s Important Twentieth Century Design year of sale. In 2007 Errazuriz was selected one of the top emerging international designers by I.D. Magazine. In 2010 he received the title of Chilean Designer of the Year. In 2011 he was selected for the Compasso d’ Oro and at the end of that year his work was the talk of Design Miami Basel.
Sebastian Errazuriz’s work has been exhibited alongside the most celebrated architects and designers in over forty international exhibitions. His work has been included in exhibitions and collections at the Palm Springs Art Museum, Copper Hewitt, National Museum of Design in New York, Peabody Essex Museum in Salem, Kiasma Museum of Contemporary Art in Helsinki, The Vitra Museum in Weil AM Rheim Germany, The Museum of Art and Design in New York, The Bellevue Arts Museum in Washington, The Mint Museum in Charlotte, The Corning Museum of Glass in Corning, NY, the National Museum of Fine Arts in Santiago, Albuquerque Museum in Albuquerque, Museo Amparo in Puebla in Mexico and Peabody Essex Museum in Salem. “Look Again” was his first solo museum exhibition in 2014 at the Carnegie Museum of Art.
Sebastian’s work has been featured in multiple magazine covers and portrayed in thousands press articles by the specialized art and design media. He has also received critical acclaim from The New York Times, The Financial Times and The Wall Street Journal, Art+Auction. In addition, his work has been featured in mainstream TV in BBC, CNN, ABC, and NY1. Multiple books and catalogues feature his projects and his first monograph The Journey of Sebastian Errazuriz was published and distributed internationally by Gestalten in 2012.
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