“在 1960 年代，当她的编织作品在国际和她的祖国波兰展出时，Magdalena Abakanowicz 成为了一位强大而叛逆的艺术家。尽管有时被误认为是一种“女性化”的工艺，但这些由粗织或丰富的肉质织物制成的巨大网可以从天花板延伸到地板，悬垂的威胁，或创造出引诱观众进入的神秘环境。这些形状由惊人的材料编织而成——剑麻、绳索、大麻、亚麻、羊毛和马毛——就像本次展览中较小的例子Les Desert Rouge (No. 1)一样，它们可以色彩鲜艳；但 Abakanowicz 经常将自然色的材料制成可触感的、隐约可见的黑暗存在，充满画廊空间并挑战艺术类别。阿巴卡诺维奇的阿巴坎人是编织物和雕塑，当大规模生产时，它们变成了装置。”凯瑟琳·纳厄姆，原始愿景：转变范式。女性艺术，1970-1996（麦克马伦艺术博物馆，波士顿学院，马萨诸塞州，1997 年），第 19 页-20。

“Magdalena Abakanowicz emerged as a a powerful and rebellious artist in the 1960s when her weavings were exhibited both internationally and in her native Poland. Although sometimes misperceived as a ‘feminine’ craft, these monumental webs of coarsely woven, or rich, fleshy fabric, could stretch from ceiling to floor, hang pendulously threatening, or create mysterious environments that the viewer was seduced to penetrate. The forms were woven of startling materials –sisal, rope, hemp, flax, wool and horsehair – and, like, Les Desert Rouge (No. 1), the smaller-scale example in this exhibition, they could be brightly colored; but often Abakanowicz worked naturally colored material into tactile, darkly looming presences that filled gallery spaces and challenged categories of art. Abakanowicz’s Abakans are weavings and sculptures, and when produced in large scale, they become installations." Katherine Nahum, Original Visions: Shifting the Paradigm. Woman’s Art, 1970-1996 (McMullen Museum of Art, Boston College, Massachusetts, 1997), pp. 19-20.

4m/r Le Desert Rouge Magdalena Abakanowicz, sisal, 55" x 43" x 5", 1984, Sold

5m/r Montana del Fuego, Magdalena Abakanowicz, sisal, 54" x 81", 1986, Sold

1ma/r Studium Faktur, Magdalena Abakanowicz, sisal, 54" x 43" x 9", 1964, Sold

6m/r Vieux Rouge, Magdalena Abakanowicz, sisal, 45" x 80", 1983, Sold

入选展览：

纽约现代艺术博物馆（壁挂，由米尔德里德康斯坦丁和杰克莱诺拉森策展）；瑞士洛桑（11届国际挂毯双年展）；史密森学会巡回展览（SITES）：查尔斯和艾玛弗莱艺术博物馆，西雅图，华盛顿；加利福尼亚州奥克兰博物馆；伊利诺伊州芝加哥市科学与工业博物馆；Herbert F. Johnson 艺术博物馆，康奈尔大学，伊萨卡，纽约；安克雷奇历史和美术博物馆，阿拉斯加；阿拉巴马州蒙哥马利美术馆（22位波兰纺织艺术家，巡回展览）；Jacques Baruch 画廊，芝加哥，伊利诺伊州；Flinn 画廊，格林威治图书馆，康涅狄格州（超越编织：国际艺术纺织品）；加州大学洛杉矶分校画廊（ Deliberate Entanglements）；加州帕萨迪纳美术馆（单人展）；挪威奥斯陆装饰艺术博物馆（单人巡回展）；瑞典斯德哥尔摩国家博物馆（单人展）；伊利诺伊州芝加哥当代艺术博物馆；当代艺术博物馆，蒙特利尔，加拿大；国家科学院，华盛顿特区；马萨诸塞州林肯市德科尔多瓦博物馆；德克萨斯州达拉斯美术馆；华盛顿波特兰艺术博物馆和波特兰视觉艺术中心；阿拉斯加视觉艺术中心，安克雷奇；加利福尼亚大学洛杉矶分校的 Frederick S. Wight 美术馆（回顾展、巡回展览）；东京国立近代美术馆和日本京都国立近代美术馆（欧洲和日本的纤维作品）；威尼斯双年展；圣保罗双年展。

Selected exhibitions:

Museum of Modern Art, New York, New York (Wall Hangings, curated by Mildred Constantine and Jack Lenor Larsen); Lausanne, Switzerland (11 International Biennials of Tapestry); Smithsonian Institution Traveling Exhibition (SITES): Charles and Emma Frye Art Museum, Seattle, Washington; Oakland Museum, California; Museum of Science and Industry, Chicago, Illinois; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York; Anchorage Historical & Fine Arts Museum, Alaska; Montgomery Museum of Fine Arts, Alabama (22 Polish Textile Artists, traveling exhibition); Jacques Baruch Gallery, Chicago, Illinois; Flinn Gallery, Greenwich Library, Connecticut (Beyond Weaving: International ArtTextiles); University of California Los Angeles Gallery (Deliberate Entanglements); Pasadena Art Museum, California (one-person exhibition); Museum of Decorative Arts, Oslo, Norway (one-person, traveling exhibition); National Museum, Stockholm, Sweden (one-person exhibition); Museum of Contemporary Art, Chicago, Illinois; Museum of Contemporary Art, Montreal, Canada; National Academy of Sciences, Washington, D.C.; DeCordova Museum, Lincoln, Massachusetts; Dallas Museum of Fine Arts, Texas; Portland Art Museum & Portland Center for the Visual Arts, Washington; Visual Arts Center of Alaska, Anchorage; Frederick S. Wight Art Gallery of the University of California, Los Angeles (retrospective, traveling exhibition); National Museum of Modern Art, Tokyo and Kyoto National Museum of Modern Art, Japan (Fiber Works from Europe and Japan); Venice Biennial; Sao Paolo Biennial.

精选收藏：

大都会艺术博物馆，纽约，纽约；现代艺术博物馆，纽约，纽约；荷兰阿姆斯特丹市立博物馆；挪威奥斯陆装饰艺术博物馆；日本京都国立近代美术馆；瑞典斯德哥尔摩国家博物馆；堪培拉澳大利亚国家美术馆；加拉加斯现代艺术博物馆，加拉加斯，委内瑞拉；当代艺术中心，波兰华沙；法国巴黎蓬皮杜艺术中心；国家当代艺术博物馆，首尔，韩国；Museo de Arte Contemporaneo Internacional Rufino，Tamayo，墨西哥城，墨西哥；Museo Nacional Centro de Arte Reina Sofia，马德里，西班牙；以色列博物馆，耶路撒冷；沃克艺术中心，明尼阿波利斯，明尼苏达；艺术与设计博物馆，纽约，纽约；华盛顿特区赫希洪博物馆和雕塑园；德国科隆路德维希博物馆：加利福尼亚州洛杉矶县艺术博物馆；世宗美术馆，东京，日本。

Selected collections:

Metropolitan Museum of Art, New York, New York; Museum of Modern Art, New York, New York; Stedelijk Museum, Amsterdam, the Netherlands; Museum of Decorative Arts, Oslo, Norway; Kyoto National Museum of Modern Art, Japan; National Museum, Stockholm, Sweden; Australian National Gallery of Art, Canberra; Caracas Museum of Modern Art, Caracas, Venezuela; Center for Contemporary Art, Warsaw, Poland; Centre Georges Pompidou, Paris, France; National Museum of Contemporary Art, Seoul, South Korea; Museo de Arte Contemporaneo Internacional Rufino, Tamayo, Mexico City, Mexico; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; the Israel Museum, Jerusalem; Walker Art Center, Minneapolis, Minnesota; Museum of Arts and Design, New York, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Ludwig Museum, Köln, Germany: Los Angeles County Museum of Art, California; Sezon Museum of Art, Tokyo, Japan.

获得者：

美国工艺委员会金奖；杰出雕塑奖，纽约雕塑中心，纽约；莱昂纳多·达·芬奇，世界艺术奖，世界文化理事会，墨西哥；法国巴黎艺术与文学骑士勋章。

Recipient:

Gold Medal, American Craft Council; Distinction in Sculpture Award, Sculpture Center, New York, New York; Leonardo da Vinci, World Award of Arts, World Cultural Council, Mexico; Chevalier Order of Arts and Letters, Paris, France.

陈述：

归根结底，让我着迷的是完全消除挂毯的功利功能。我的特别目标是创造与结构复杂而柔软的物体完全交流的可能性。通过裂缝和开口，我试图让观众深入到构图的最深处。我对在编织的形式、丰富而多肉的形式与周围环境之间干预的张力规模感兴趣。”Magdalena Abakanowicz，1969 年，引自Magdalena Abakanowicz：芝加哥当代艺术博物馆（Abbeville Press，芝加哥，纽约，1982 年）。

Statement:

"My art has always been a protest against what I have met with in weaving. I started to use rope, horsehair, metal, and fur because I needed these materials to give my vision expression and I did not care that they were not part of the tradition in the field. Moreover, tapestry, with its decorative function, has never interested me. I simply became extremely concerned with all that could be done through weaving. How one forms the surface reliefs, how the mobile markings of the horsehair will be put into place and, finally, how this constructed surface can swell and burst, showing a glimpse of mysterious depths through the cracks. In 1966 I completed my first woven forms that are independent of the walls and exist in space. In creating them I did not want to relate to either tapestry or sculpture. Ultimately it is the total obliteration of the utilitarian function of tapestry that fascinates me. My particular aim is to create possibilities for complete communion with an object whose structure is complex and soft. Through cracks and openings I try to get the viewer to penetrate into the deepest reaches of the composition. I am interested in the scale of tensions that intervene between the woven form, rich and fleshy, and the surroundings." Magdalena Abakanowicz, 1969, quoted in Magdalena Abakanowicz: Museum of Contemporary Art, Chicago (Abbeville Press, Chicago, New York 1982).