破碎的雕塑,卢森堡,Sali Muller

卢森堡艺术家萨利•穆勒的自传体作品表达了普遍存在的自我怀疑、自我反省和自我启示的情感,尤其是在数字时代。

与我们想要变得更好的愿望相结合的,是毁灭或自我毁灭的愿望。正是这种思想构成了穆勒工作的基础。她专注于基本功能和自私等心理体验,解构了我们如何看待自己,以及我们如何创造独立的身份。通过破碎的玻璃碎片、不完整的形状和分裂的时间,穆勒将人们的注意力吸引到当代对自我形象、透明度和青春的痴迷上——这在痴迷自拍的一代中很明显。她的装置作品促使观众思考自我在什么时候变成了他者,以及我们如何才能客观地分辨出是什么让我们独一无二。
与对自我形象的执着相伴而来的是对时间和衰老的敏锐意识。穆勒创作的作品似乎失去了原有的形式(比如一系列不断缩小的框架),暗指了物质对象的短暂性和生物不可避免的死亡。当考虑到社会对保持年轻的渴望时,这一点显得尤为重要。

Luxembourgish artist Sali Muller’s autobiographical oeuvre addresses the universal feelings of self-doubt, self-reflection and self-revelation, specifically in the digital age.

Coupled with our desire to better ourselves, is the desire to destroy or self-destruct. It is this thinking that forms the basis of Muller’s work. Focusing on base functions and psychological experiences such as selfishness, she deconstructs how we see ourselves and how we create separate identities. Through broken shards of glass, incomplete shapes and split time, Muller draws attention to a contemporary obsession with self-image, transparency and youth — evident in this selfie obsessed generation. Her installations prompt the viewer to question at what point the self becomes other, and how we can we objectively distinguish what makes us unique.
Hand in hand with the preoccupation with self-image comes an acute awareness of passing time and aging. By creating pieces that appear to lose their original form (such as the series of diminishing frames) Muller alludes to the transitory nature of material objects and the inevitable death of living things. This seems particularly pertinent when considered in relation to society’s desire to remain young.

Author: Sali Muller
Photography: © Sali Muller

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