Louise Bourgeois: The Fabric Works 前導文章

 

昨日翻出Louise Bourgeois: The Fabric Works 的前導，之前為了寫論文特地把文章轉成電子檔（並隨意估狗翻譯一輪），稍微看了一下覺得寫得好好啊...(當時不知道為何看了沒什麼感覺傻眼）。之後好像可以來認真翻一下（總之先貼上再說）

• 作者：Germano Celant
• 出版者 ‏ : ‎ Skira; 1St Edition (26 4 月 2011)
• 語言 ‏ : ‎ English
• Hardcover ‏ : ‎ 336 頁
• ISBN-10 ‏ : ‎ 8857206548
• ISBN-13 ‏ : ‎ 978-8857206547
• 
  

題外話，作者Germano Celant是提出「Arte Povera」的人類，他在 2020 年 4 月 29 日過世了

（以下紅字為估狗翻譯）

P.13

The ives and adventures of artists are traced by what they leave behind them: marks and tracks scattered over the terrain of images. It is on the basis of this set of imprints and fragments left over the course of time, in different spaces, that observers can read an account and a story written" by the human being who has used different and varied materials to refect her vision as well as existence. Whether these are characterized by sorrow or joy. by thought or feeling, these things and events reveal multiple meanings connected to a personal and linguistic story, one that can be told a posteriori by someone who has not shared this set of lived and recorded events, If this is true of the narrator Louise Bourgeois, interest has been focused, each time, on the unique, unpredictable and incomparable way in which she presents herself, so as to offer and outline a portrait from another perspective. one which has to be delicate in order to avoid trapping her in a clear-cut figure. So this observer does not aspire to set forth a complete, comprehensive and unifying discourse, but aims only to recount the partial story of an artistic adventure, seeking to cut out a wrapper, if not an actual garment, that will correspond to the "physiognomy" related to her Fabric Works. A "descriptive" and "analytical" design that is based on the glimpse of a unity, but one that is fragile like all the theoretical mirages and adornments produced by the art historian who tries to define the "destiny" of an artist, but only succeeds in expressing his observation of the visible and the potential invisible, corresponding to a view from the outside, not trom the inside. On this relative journey, the identity discerned in the Fabric Works will be an additional measure of the communicative and linguistic power of the artist, who has woven, over time, a web rich in memories and stories that is guaranteed to shine brightly in the history of modern and contemporary art. 

藝術家留下的痕跡可以追溯藝術家的興趣和冒險：散佈在圖像地形上的標記和痕跡。正是基於隨著時間的推移在不同空間中留下的這組烙印和片段，觀察者可以閱讀由人類使用不同和不同的材料來改變她的視野的敘述和故事。無論是悲傷還是快樂，無論是思想還是情感，這些事物和事件都揭示了與個人和語言故事相關的多種含義，可以由那些沒有分享過這種生活的人來講述和記錄的事件，如果敘述者路易絲·布爾喬亞（Louise Bourgeois）做到這一點，那麼她的興趣每次都集中在她呈現自己的獨特，不可預測和無可比擬的方式上，以便從另一個角度提供和描繪肖像。為了避免陷入清晰的身影，她必須精巧，所以這位觀察者並不希望提出一個完整，全面和統一的論述，而只是想敘述一個在一次藝術冒險中，力求切出包裝材料（如果不是真正的服裝），該包裝材料應與與其布料作品有關的“相貌”。一種“描述性”和“分析性”設計，基於統一的一瞥，但設計卻像藝術史學家試圖定義藝術家的“命運”的所有理論上的幻象和裝飾一樣脆弱。成功表達了他對可見和潛在不可見物體的觀察，對應於從外部而不是從內部觀看的視圖。在這段相對的旅程中，織物作品中所識別的身份將進一步衡量藝術家的交流和語言能力，隨著時間的推移，他編織了一個充滿記憶和故事的網絡，這些網絡保證在歷史上閃耀光芒和當代藝術。

In the first place the term "fabric" is used here in its sense of "cloth," "a pliable material made by weaving, felting, or knitting natural and synthetic fibres and filaments."* The definition applies to an expanse, almost a skin, of interwoven elements, with a certain thickness and a certain texture: something light or heavy, opaque or reflective, that lives on colors and irradiations. A tactile and substantial element that can be taken as "epidermis," as carnal epiphany of a fluidity or a rigidity. A surface that can be airy, liquid and luminous, revealing an inner space of light and mobile, sensitive and euphoric communication. At the same time a physical datum that can be altered by the events that agitate it and modify it as a pliable, if not fragile, entity that allows itself to be traversed, but maintains its identity. A weave that in its colors expresses emotional and mental states, and in the combinations of its volumes condenses energy and delight. In addition, the fabric always implies something that lies beneath, alluding to a "substance" that looks to be veiled, if not shadowy. A subterranean, almost always carnal world, one linked to suffering and pain, to joy, and to physical and concrete memories, that appear through the outlines of the woven surface. A sort of description of an elsewhere, the mark of an enveloping and persistent density: a dark and hidden body from which we have just emerged. In this way the fabric introduces a space of meaning into Bourgeois's journey, but without opening it up. It is indicative of an expanse that has run through everything she has done since 1949, like an inner, secluded, perhaps prohibited wealth. In fact if we include her childhood and adolescence in her parent's tapestry workshop at Aubusson and,from 1923, her work on the mending of those tapestries, then we could say that fabrie has been the locus of a desire to "repair" memory and the past. A recourse to weaving as a narration of the self.

首先，此處使用的“織物”一詞是指“布”，“是通過編織，氈合或編織天然和合成纖維及長絲製成的柔韌材料。” *該定義適用於廣泛的，幾乎是具有一定厚度和紋理的交織元素的皮膚：輕或重，不透明或反光的東西，以顏色和輻射為生。一種觸覺上很重要的元素，可以看作是“表皮”，是流動性或剛性的肉體頓悟。可以是通風，液體和發光的表面，顯示出光線和移動，敏感和欣快的交流的內部空間。同時，可以通過攪動它的事件來更改物理基準，並將其修改為柔韌的（即使不是易碎的）實體，該實體可以被遍歷，但保持其身份。顏色以編織方式表現出情感和精神狀態，而其體積的組合則凝聚出能量和愉悅。另外，織物總是暗示著下面的東西，暗示著一種看起來像是被遮蓋的“物質”，即使不是很暗的。一個地下世界，幾乎總是肉慾的世界，一個與痛苦和痛苦，歡樂，身體和具體的記憶聯繫在一起的世界，通過編織的表面輪廓出現。一種對其他地方的描述，一種包圍而持久的密度的標記：我們剛剛從中出現的黑暗而隱蔽的物體。通過這種方式，織物為資產階級的旅程帶來了意義的空間，但沒有打開它。這標誌著她自1949年以來所做的一切，如內心的，隱秘的，也許是被禁止的財富，已經氾濫成災。實際上，如果我們將她的童年和青春期包括在其父母在Aubusson的掛毯作坊中，以及從1923年開始，她在修補這些掛毯方面的工作，那麼我們可以說fabrie一直是“修復”記憶和過去。編織作為自我的一種訴求。

P.14

Fabric is also the cloth that can be defined as "a garment,"a role which is dual and which, like shirt, tunic, skirt, sweater, and blouse, refers to a body. Something on the outside that reflocts what is inside. The structure of a language, cut to follow the contours of a person and adapted to his or her physical boundaries can tell us something of that person's significant "traits, Her laying on of this covering is deterrmined by a surface that, over the course of time conserves the traces of its use, the testimony of a life. The surprising vestiges of a personal and subjective world which, through clothing, can bring memories back to the surface and to life At the same time, according to Jean Genet, the function of clothing is also sacrificial, implying birth as well as death. Seen as "assemblage," with its logic of cutting and then putting back together, it recalls instead the act of making and creating. It expresses the technique of executing something with the hands, cutting it and sewing it, an essentially female way of producing as it is organized around a thread that, as in the story of Penelope, has no end.

織物也是可以定義為“服裝”的布料，該角色具有雙重作用，例如襯衫，上衣，裙子，毛衣和上衣，是指身體。外面的東西重新包裹了裡面的東西。一種語言的結構被剪裁成一個人的輪廓並適應他或她的身體邊界，可以告訴我們該人的重要“特質”，她在此遮蓋物上的放置由一個表面決定，該表面在整個過程中讓·吉內特認為，時間可以保留其使用的痕跡，生活的見證，個人和主觀世界的令人驚訝的痕跡，通過服裝，這些痕跡可以將記憶帶回到表面和生活中服裝也具有犧牲性，寓意著生與死，被稱為“集合”，具有剪裁然後放回原處的邏輯，它回想起了製造和創造的行為，它表達了用手執行某些事物的技巧，剪裁和縫製，這實際上是一種女性的生產方式，因為它圍繞著一條線組織起來，就像佩內洛普的故事一樣，沒有盡頭。

 Fabric, as "textile" and "clothing," is used to decorate the hurnan body that quivers and speaks with its movements and gestures. Preferably it is laid over the body's naked surface so that, in addition to its plastic value, it possesses an erotic significance, configuring its sensory existence, made up of drives and desires. Or it becomes the means of a laying bare. It fosters the awareness of a hidden and subterranean corporeality that is related to the different genders. In fact the garment is vehicle of what the body does not say. It makes perceptible with its camouflage the symptoms of a desire to communicate that has the value of expressive language. This is why Louise Bourgeois uses fabric, because it reflects the features of her existential body, almost covering it with its secret "stigmata" to compose an art object, a sculpture or drawing, that is the product of a liberation from fear and anxiety: a therapy. 

 織物，如“紡織品”和“服裝”，被用來裝飾擺弄並用其動作和手勢說話的湖南人的身體。優選地，它被放置在人體的裸露表面上，以使其除了具有可塑性之外，還具有色情意義，構成其感官存在，由動力和慾望組成。或成為裸露的手段。它提高了人們對與不同性別有關的隱藏和地下物質意識的認識。實際上，服裝是人體所說的媒介。通過其偽裝，它可以感知具有表達語言價值的交流慾望的症狀。這就是為什麼路易絲·布爾喬亞（Louise Bourgeois）使用織物的原因，因為它反映了她存在的身體的特徵，幾乎用它的秘密“柱頭”覆蓋了它，從而構成了藝術品，雕塑或繪畫，這是擺脫恐懼和焦慮的產物：一種療法。

This covering is also a sophisticated and elegant capsule, in which to take shelter from the inclemency of the weather: a protective, hygienic and psychological prosthesis, that keeps paranoia and illness at a distance. A suit of armour that isolates from the world, but at the same time becomes a means of expansion: the desire to broaden the confines of one's own being, crossing all the possible frontiers of existence. Fabric as "cloth" is also the interface through which pass all data of information and formation, while as "garment" it expresses one's social and communicative way of positioning oneself with respect to the world of others. It incorporates on its surface the images adopted or produced by the artist, but also transfers them to the outside with the form of their cut and their assembly. 

這種覆蓋物也是一個精緻而優雅的膠囊，可抵禦惡劣天氣：保護，衛生和心理修復體，可將偏執狂和疾病隔離開。一套與世隔絕的盔甲，但同時又成為一種擴張的手段：擴大自己的境界，跨越存在的所有可能邊界的願望。作為“布料”的織物也是傳遞所有信息和形成數據的接口，而作為“服裝”的織物則表示一個人相對於他人世界定位的社交和交流方式。它在表面上融合了藝術家所採用或產生的圖像，但也以其切割和組合的形式將其轉移到外部。

Assembling and sewing together a piece of fabric is connected with cutting, and to cut is to think and to write (in the past the scissors were preceded by a line traced in chalk). A manual activity that is interwoven with observing and seeing, as is typical of the artistic process, aimed at realizing something formed according to a certain logic. It was the Cubists. with Pablo Picasso and Georges Braque, who cut up images, taking them to pieces and putting them back together in their collages, in order to find new relationships with the object seen and experienced. They sunk their scissors into surfaces and images in order to convey directly an idea and an awareness of an art that, after having drained, exhausted and destroyed the representation of the real, created a reality of its own: a new object that did not interpret, but constructed and produced something. Cutting out and organizing forms and figures, images and materials on the surface and in space was a radical process, as it has modified the way we perceive reality as well as constructed a new one. Thus cutting structures not just clothing but language. It interferes with the traditional conventions of figuration and ornamentation of a body, as well as a thing, to create a new situation. The slash of a pair of scissors is similar to the stroke of a pencil, a brush or a scalpel. All define with absolute decision a perimeter and a form, which recounts a new reality. In this, the artistic process can be taken as a cleaving and demarcating of conscious and unconscious phenomena to provoke its interpretation: the cut is its soul. It sets itself up as an intimate and sensitive interpreter to define concretely the thought of its "agent." The cut marks the sunace of a garment, and therefore of a proposing of oneself to others. It is the significant effect of hs or her action, as an artist.

將一塊織物組裝並縫在一起與切割相關聯，切割就是思考和書寫（在過去的剪刀之前，先用粉筆劃出一條線）。手動活動與觀察和觀看交織在一起的手工活動，這是藝術過程的典型特徵，旨在實現根據某種邏輯形成的事物。是立體主義者。與帕勃羅·畢加索（Pablo Picasso）和喬治·布拉克（Georges Braque）一起，他們將圖像切成小塊，然後將它們放回拼貼中，以便與看到和體驗到的物體建立新的關係。他們將剪刀沉入表面和圖像中，以便直接傳達一種思想和對藝術的認識，這種藝術在耗盡，耗盡和破壞了現實的表示之後，創造了自己的現實：一個沒有解釋的新物體，但構造並產生了一些東西。在表面和空間上切出並組織形式，圖形，圖像和材料是一個激進的過程，因為它改變了我們對現實的感知方式，並構建了一個新的過程。因此，不僅切割衣服，還切割語言。它干擾了人體和事物的傳統形像和裝飾慣例，從而創造了一種新情況。一把剪刀的斜線類似於鉛筆，刷子或手術刀的筆劃。所有這些都以絕對的決定定義了一個周界和一種形式，這敘述了新的現實。在這種情況下，藝術過程可以看作是對有意識和無意識現象的分裂和劃界，以激發其解釋：切入是其靈魂。它將自己設置為一個親密而敏感的解釋器，以具體定義其“代理”的思想。剪裁標誌著服裝的日光浴，因此標誌著自己向他人求婚。作為藝術家，這是hs或她的行為的重要影響。

The correspondence between body and clothing became manifest in Louise Bourgeois in 1950 when she made drawing and fabric coincide. Using her own clothes the artist traced, in black ink, images that spoke of her being. They were figurations that told of the organization of her drives and emotions, of a body that suffered and dispiayed its symptoms of suffering through an iconic process, that of an explosion and an infinite irradiation of the "centre." An almost schizophrenic multiplicity that was foreshadowed by the Femme maison series, 1945-47, in which the female figure has a dual appearance because it is surmounted by a construction, a sort of house, that covers and imprisons the head. Symbolic drawings that reproduce a strange creature which seems to echo the image of Baubo, that peculiar mouth which, with its vulgar, if not obscene speech, lifted Demeter out of her depression, revitalizing her and allowing her to go back to seeking the object of her affection-her daughter-and eventually to maisons, in addition to speaking of a repression that stemmed from being split in two or from living in a dual condition, point to the future libidinal genesis of Bourgeois's work. More precisely, in relation to Georges Bataille, to the parallels between mouth and vagina, between high and low, pure and impure. A coupling made possible by the language of art, which feeds on hybrid pairings to compose another body: a centaur somewhere between clothing and the flesh, where the former is a rigid and geometric construction that imposes a linear and spatial fixity, while the latter is soft and curved, communicating through a cleft reunited with her. In their various versions, the Femme that invokes the interior and pleasure.

1950年，路易絲·布爾喬亞（Louise Bourgeois）使繪畫和織物重合，因此身體和衣服之間的對應關係變得顯而易見。藝術家用她自己的衣服用黑色墨水追踪了講述她的形象。這些人物形象講述了她的動力和情緒的組織，一個遭受痛苦並表現出其痛苦症狀的身體，這一過程是通過標誌性過程，爆炸和對“中心”的無限照射而產生的。 1945-47年的Femme maison系列作品預示了一種幾乎精神分裂的多重性，其中女性形象具有雙重外觀，因為它被建築物覆蓋，這種房屋蓋住並囚禁了頭部。符號畫再現了一個奇怪的生物，似乎與鮑勃的形象相呼應，那奇特的嘴巴，用粗俗的話語，即使不是淫穢的話語，將德米特（Demeter）擺脫了沮喪，使她恢復了活力，並讓她回到了尋找的對像上。她的愛人-她的女兒-甚至是女僕，除了談到因一分為二或雙重生活而產生的壓抑外，還指出了資產階級工作的未來起源。更準確地說，相對於喬治·巴塔耶（Georges Bataille），是嘴與陰道之間的相似之處，是高與低之間，純與不純之間的相似之處。藝術語言使耦合成為可能，這種耦合依靠混合配對來構成另一個身體：衣服和肉之間的半人馬座，其中前者是剛性和幾何結構，具有線性和空間固定性，而後者是固定的柔軟而彎曲，通過與她​​團聚的裂縫溝通。在它們的各種版本中，Femme喚起了室內和愉悅。

P.15

And it is on the cut, or rather the line of demarcation that subdivides the body. splitting it in half and denying it one part, creating an ambivalence, that Bourgeois traces her subject of cormmunication about herself and about the manipulation she has suffered and endured. Presenting a femalo figure encumbered by a bulky house, she turns it into a fetish of manipulation and of contemplation for others. She declares herself mutilated and branded by her domestic and family rolo, but maintains erect and frontal her sexuality, of the female gender. Although the upper part of the mind and the head has been dressed, made invisible, one part remains uncovered, as it has not been subjected to any negation: the part that plays with the eroticism of the body and its nudity. The nude is not constructed, and thus does not present alterations or perversities. Consequently, the artist finds in it her identity, "stripping" in front of others and succeeding in overcoming any imposed or assumed configuration: she returns to her primitive state. In this sense she comes cliose to the feelings of a killer, for "to be an artist is a guarantee to your fellow humans that the wear and tear of living will not let you become a murderer," while transferring these same feelings into the work of art: "In my art, I am the murderer. I feel for the ordeal of the murderer, the man who has to live with his conscience."

它是切分的，或者說是劃分身體的分界線。將其分為兩半並否認其中一部分，從而產生矛盾感，布爾喬亞將自己的交往對象追溯到自己以及遭受和忍受的操縱。她呈現出一個笨拙的人物，被笨拙的房屋所佔據，她將其變成了對他人的操縱和沈思的一種拜物教。她宣稱自己受到家庭和家庭角色的殘害和烙印，但仍保持著直立和正面的女性性別。儘管頭腦和頭部的上半部分已經被修飾，使其看不見，但由於沒有受到任何否定，一部分仍未被發現：這部分與人體的色情及其裸露有關。沒有構造裸照，因此沒有任何改動或變態。因此，藝術家在其中找到了自己的身份，“在其他人面前“脫口而出”並成功克服了任何強加或假定的配置：她回到了原始狀態。從這個意義上說，她對殺手的感情很有幫助，因為“當藝術家，這是對你的同胞的保證，生活的磨難不會讓你成為殺人犯”，同時將同樣的感情轉化為作品。關於藝術：“在我的藝術中，我是兇手。我對兇手的折磨感到難過，這個人必須與他的良心同住。”

The first act of "laying bare" passes through a covering that on being opened, in the process of its opening, exposes something "hidden" that needs to be made clear, and thus to be penetrated with the gaze. Le regard, 1966 (cat. no. 13), reveals through its fissure obscure and ambiguous forms, something sensual like an eye that magnetically attracts attention and makes itself the subject of le regard, "the look." With The Destruction of the Father, 1974 (cat. no. 18), the precipitation of emotional and psychological conflicts manifests an almost inhuman quality, the killing of her father, in whose gushing comes to create a cavern of the self, every form is traced back to that heinous crime. At the same time the descent into hell of this murderous piece" is the source of an energy that tends to re-create itself, that is no longer passive debris, but manifestation of a vital flow. The laying bare takes place through a construction of cracks in a body, as if Bourgeois wished to penetrate the cavern of the cast, where both the table and the bed of the family are represented, so that the drama of separation, experienced by the artist in her youth, creating in her a duality between self and non-self, between inside and outside, is resolved in the glorious production of a reactivated unity. A focusing of the attention on the private and inner experience of a habitat that is also habit, cloth, because it incorporates black fabric drapery around latex and plaster shapes: "to retreat into something?" and that is equally a declaration of coming to light. A threshold, between the visual and sensual, in which to catch a glimpse of a free explosion of her own female corporeity, through which the neurotic dysfunction accumulated over time can find an outlet: a volcanic eruption that allows the lava within to express itself. A passage into the cruel and the grim that serves to metabolize her negative memories and propose a transmutation that plunges her persona back into the maelstrom of a possible effective and affective existence. Almost a reassuring oasis, a space in which the poetry of life can be consummated. So poetry, like art, becomes the model of an elsewhere: a place to express oneself.

“裸露”的第一個動作是穿過一個被打開的覆蓋物，該覆蓋物在其打開的過程中會暴露出一些“隱藏的”東西，需要將其弄清楚，然後才能被視線穿透。 1966年的勒阿謝（第13號貓）通過其裂隙模糊且模棱兩可的形式揭示了一種感性的感覺，如眼睛，吸引了人們的注意力，並使其成為勒阿佩的主題，即“外觀”。在1974年的《父親毀滅》（第18類）中，情感和心理衝突的加劇表現出一種幾乎不人道的特質，即殺死她的父親，父親的湧入造成了自我的洞穴，每種形式都是追溯到那令人髮指的罪行。同時，這具殺傷性的物品墜入地獄，是一種能量的源泉，這種能量傾向於自我重建，不再是被動的碎片，而是生命之流的體現。就像一個布爾喬瓦人希望穿透演員的洞穴一樣，在這個洞穴中，家人的桌子和床都被描繪出來，因此藝術家的青春經歷了分離的戲劇，在她的身體中產生了雙重性在自我與非自我之間，內部與外部之間的關係，通過光榮的恢復統一而得以解決，將注意力集中在同樣習慣的棲息地的私密和內在體驗上，因為它結合了黑色織物帷幕圍繞乳膠和石膏形狀：“要退縮成某種東西？”這同樣是一個亮點。視覺和感性之間的一個界限，通過這個界限可以窺見她的女性虛弱的自由爆炸，通過隨著時間的流逝，神經功能失調會積聚一個出口：一個火山噴發，使內部的熔岩得以自我表達。一段殘酷而嚴峻的經歷，可以代謝她的消極記憶，並提出一種trans變，使她的角色陷入到可能有效和情感存在的漩渦中。幾乎是一個令人放心的綠洲，在這個空間中可以充實生活的詩意。因此，詩歌像藝術一樣，成為其他地方的典範：表達自我的地方。

P.16

Having reclaimed the stage on which to incarnate the dynamics of the psychological trauma due to abandonment, Bourgeois began to regain possession of her female figure not just as individuality, but as repository of myths. She sought to mend the split between conscious and unconscious, mental and emotional, thought and life, reinforcing the deep and cultural layers of her identity and her personality. Slowly she dressed herself in a history that belonged to her gender. She analyzed its possible stratifications and aspired to communicate the loss of mythical and mystical meaning that the woman conveyed. She went in search of the intensity of her origins and, naturally, once again found the image of the Great Mother, the primordial deity with her generative power, as the possible leader of a matriarchal political system. Among her personifications she chose the figure with multiple breasts, iconological and symbolic attributes that declared her extreme fertility and thus creativity. To underline the connection with this myth, in 1975, the artist wore one of her sculptures in latex, Avenza, 1968-69 (cat. no. 14). In 1978 this sculpture was incorporated into the work Confrontation (cat. no. 22), and Bourgeois had her photograph taken in front of her house in New York (cat. no. 20). A very rapid passage, made over the space of a year, between the surgical operation of removal of her father and the recording of a Promethean assertion of her own historical identity that no longer allowed her to content herseif with the silence of the sculptures she had been creating since 1946, with their all-absorbing and dumbfounded tension, drove her to tell, with her own body and the bodies of others, a story of salvation, although continually in relation to her own memories and anxieties. In A Banquet / A Fashion Show of Body Parts, 1978 (cat. no. 21), this has three levels of fruition: external, internal, and poetic. The exterior, where the linguistic covering, a sort of room or construction bounded by walls, contains forms and materials that constitute the inner aspect, the true core of ceremony and ritual, The transition from the cavern to the performance signals Bourgeois's awareness that the spectacle of herself, with her own dramas, is not fixed, as it might have appeared in The Destruction of the Father, but mobile and circulating between things and other bodies. Despite having broken down its solidity, that sticky and soft material, that of the male, which had led to the construction of an asphyxiating cave, fear and pain could be liberated in a vital flow. This draining, in A Banquet/A Fashion Show of Body Parts, involves the intention "to put down. debunk the abstract male, whose image is constructed by society." The ritual of the sacrifice of the father, and now of the male, is transformed from a state of lethargy to one of alertness, thereby turning the future scene of her activity into a positive and poetic therapeutic process, usable by initiates.

資產階級恢復了因遺棄而造成的心理創傷的動態化階段，資產階級開始重新獲得其女性形象的所有權，不僅僅是作為個人，而是作為神話的倉庫。她試圖修補有意識和無意識，精神和情感，思想和生活之間的鴻溝，以加強她的身份和個性的深層和文化層面。她慢慢地將自己打扮成屬於自己性別的歷史。她分析了其可能的分層，並希望傳達這名婦女傳達的神話和神秘意義的喪失。她一直在尋找自己的血統，自然而然地，她再次發現了具有創造力的原始母親大母親的形象，作為母係政治體系的領導者。在她的擬人化設計中，她選擇了具有多個乳房，標誌性和象徵性屬性的人偶，從而宣告了她的極端生育能力和創造力。為了強調與這個神話的聯繫，藝術家於1975-69年在阿凡扎（Avenza）的乳膠中佩戴了她的雕塑之一（目錄號14）。 1978年，此雕塑被併入作品《對抗》（第22號），布爾喬亞將她的照片拍到了她在紐約的房子前（第20號）。在一年的時間裡，經歷了一次非常迅速的通過，這段經歷是在外科手術中移走父親並記錄了普羅米修斯關於自己歷史身份的斷言，這使她不再對赫賽夫感到滿意，因為她對雕塑的沉默自1946年創立以來，她始終以自己的身體和他人的身體，帶著他們全神貫注的緊張感驅使她講述救贖的故事，儘管這一直與她自己的記憶和焦慮有關。在1978年的“宴會/人體部位的時裝表演”（目錄號21）中，這體現了三個層次：外部，內部和詩意。外部是語言覆蓋物，是一間房間或以牆壁為邊界的建築，內部包含形式和材料，構成內部方面，儀式和儀式的真正核心。從洞穴到表演的過渡標誌著布爾喬亞意識到了眼鏡她自己的劇本並沒有像《父親的毀滅》中出現的那樣固定，而是在事物和其他身體之間流動和循環。儘管破壞了雄性的堅硬而柔軟的材料，卻導致了令人窒息的洞穴的建造，但恐懼和痛苦卻可以在生命中得以釋放。在“宴會/身體部位的時裝表演”中，這種引人入勝的意圖是“放下。揭穿由社會建構的抽象男性的形象。”父親（現在是男性）的犧牲儀式從昏昏欲睡的狀態轉變為機敏的狀態，從而將其活動的未來場景轉變為同修可以使用的積極而富有詩意的治療過程。

The theatre of abandonment that is performed in a circular arena, Confrontation, 1978, is the staging of a desire for protection, requested from the world of art, from her personal turmoil. An arena in which, around a table, is consumed the grid of energies and emotions, of memories and sufferings that gush from the inner fissure, the one expressed in Le regard: The subject of pain is the business I am in. To give meaning and shape to frustration and suffering. What happens to my body has to be given a formal abstract shape. So you might say, pain is the ransom of formalism." The body radiates images and thus speaks, and clothing is its language, whether it belongs to a male figure or to a group of people of different sexes. In 1991 Bourgeois declared that clothing is plastic language when she took the shirt of her assistant, Jerry Gorovoy, and turned it into a sculpture that at the top presents a geometric shape in the form of a building. A passage from a tragic phase to a triumphant one that takes the human being as a sacrificial victim. So much so that in She Lost It, 1992 (cat. no. 31), the exercise of immersion in the darkness of obsessions considers the relationship between men and women, between father and mother, with the latter invariably sacrificed: "A man and a woman lived together. On one evening he did not come back from work, and she waited. She kept on waiting and she grew littler and littler. Later, a neighbour stopped by out of friendship and there he found her, in the armchair, the size of a pea." An attempt at substitution, the assistant's shirt and the body of the art historian, at the center of the performance, in which the stripping is centered on the man, but the one who undergoes it is the woman who stays at home and is reduced to the size of a pea: "Women are losers. They are beggars..."

在圓形舞台上表演的遺棄劇場，《對峙》，1978年，是對保護的渴望的舞台，這是藝術界對她個人動蕩的要求。在一個桌子周圍，一個競技場被能量和情感，內在裂痕湧出的記憶和痛苦的網格所吞噬，這是勒·顧慮所表達的：痛苦的主題是我所從事的事業。並造成挫折和痛苦。發生在我身上的東西必須具有正式的抽象形狀。因此，您可能會說，痛苦是形式主義的贖金。”身體散發出圖像，從而說話，而服裝是其語言，無論它是屬於男性人物還是一群不同性別的人。1991年資產階級宣布服裝是是塑料語言，當她把助手傑里·格羅沃（Jerry Gorovoy）的襯衫穿上後，變成了雕塑，雕塑頂部以建築的形式呈現出幾何形狀，從悲劇的階段過渡到了引人入勝的階段如此沉重，以至於在1992年的《她迷失了它》（第31號貓）中，沉迷於迷戀的黑暗中的行為考慮了男女之間，父與母之間的關係，而後者則始終不變犧牲：“一個男人和一個女人在一起生活。在一個晚上，他沒有下班，她等了。她一直在等待，並且越來越少。後來，一個鄰居出於友情而停下來，在那裡他在扶手椅上找到了豌豆大小的豌豆。”在演出的中心，試圖替代助手的襯衫和藝術史學家的身體。剝皮是以男人為中心的，但遭受剝皮的是女人，她待在家裡，被縮小到豌豆大小：“女人是失敗者。他們是乞g ...”

P.17

Working on her magma of inner drives, Bourgeois went on to tackle the enclosed and circular world of her loneliness and hor foars, which sho was able to incarnate in cells that aro aronas and settings, little rooms always almost suited to "a herrnit, a solitary person," in whose cavities she magically "oncounters" horself. They are enciosed by a membrane of transparent or opaque material through which the gaze can pass from the outside to the inside, while their circularity seems to signify an aspiration to emerge from a low condition into a sublime orne, perfect as a circlo that in the whole of her artistic career has never been closed to others. In the cell the artist pits herself against herself and regains possession of her "truth." She secretes the sticky and the murky, liquefies them and brings light, sormetimes dim sometimes strong, to bear on her condition of being awake. Her new condition of a human cell is perceptible at a distance, through a wall of wire mesh or through a door, that on the inside reveals her renewed identity and her wandering force, This opening up to the outside is expressed as a series of moments of awareness that are also of salvation: the attainment of a conscious state that produces plastic and visual vitbrations, relative to the process of conservation of the feeling of herself: unconscious landscapes.

布爾喬亞（Bourgeois）致力於內驅力的岩漿工作，進而解決了她寂寞和荷葉的封閉和循環的世界，這使她能夠化身成具有異國情調和環境的牢房，小房間幾乎總是適合於“隱秘，獨居的人”，她神奇地在馬腔裡“碰到”了馬夫。它們由透明或不透明材料製成的薄膜所吸引，凝視可通過該薄膜從外到內傳遞，而其圓形感似乎意味著渴望從低狀態變成崇高的品格，完美地成為馬戲團中的雜技演員。她的整個藝術生涯從未對他人開放。在牢房中，藝術家使自己陷入困境，並重新獲得了自己的“真相”。她分泌出黏糊糊的和黑色的，將它們液化並帶出光，使昏暗的時光有時甚至變強，以保持清醒的狀態。通過金屬絲網的壁或通過門，可以在一定距離處感知到她的人體細胞的新狀況，其內部揭示了她的新身份和遊蕩的力量，這種向外界的開放表現為一系列的時刻意識也可以拯救：獲得意識狀態，該意識狀態產生塑性和視覺上的震動，這與保持自己的感覺的過程有關：無意識的風景。

The enclosed and tightly shut spaces of the Cells are theaters of a physical and mental disintegration, almost a murder, so that in Cell (Arch of Hysteria), 1992-93 (cat. no. 34), we see a decapitated male manikin with no arms. Its presence turns the emotional and psychological darkening into light. The fact that it is placed on a bed covered with the words je t'aime" reveals the awareness of her father's deception and that of the male, who in declaring himself to be in love leads the other to "iose her head;" except that here the process is turned against the reprobate himself: the man. A tangle of obscure and indestructible forces, like all those connected with the pain of a betrayed love, from the father to the mother, that mixes, as in Cell I, 1991 (cat. no. 25) awareness with the cruel fact that creating forms is a way of escaping suffering and fear. Here words appear on the fabric of which the bed sheets are made that seem to compensate for the absence of the female body, or at least to offer themselves as an "equivalent" of it. The words invoke it, express its needs and solutions, with the aim of emerging from a painful and hysterical dimension. In addition, the fabric is the surface with which (in the case of the clothing) and on which (in the case of the bedding) the female being succeeds in experiencing pleasure. As in Cell III (1991), "Here is the arch of hysteria, pleasure and pain are merged in a state of happiness. Her arch-the mounting of tension and release of tension-the sexual. It is a substitute for orgasm, with no access to sex. She creates her own world and is very happy.

牢房封閉且密閉的空間是身心分裂的劇院，幾乎是謀殺案，因此在牢房（歇斯底里大公館），1992-93年（目錄號34），我們看到了一個被斬首的男性人體模型，沒有武器。它的存在將情感和心理的黑暗變成光明。將其放在蓋有“ je t'aime”字樣的床上的事實表明，她意識到父親的欺騙和男性的意識，因為男性在宣布自己戀愛時會導致另一人“抬起頭來；”在這裡，過程變成了對重生的人：男人的糾結，從父親到母親，一團團模糊而堅不可摧的力量，就像所有與背叛愛的痛苦有關的力量一樣，從父親到母親，混雜在一起（目錄號25）意識到殘酷事實，即創造形式是逃避痛苦和恐懼的一種方式，在床單的織物上出現的文字似乎可以彌補女性的缺失，或者至少要提供與它“等效”的效果。用詞來表達它，表達其需求和解決方案，以擺脫痛苦和歇斯底里的尺寸。此外，織物是表面（在這種情況下，衣服上的）和硬皮上（如果是被褥的話）存在是成功的享受樂趣。就像Cell III（1991）一樣，“這裡是歇斯底里的拱門，快樂和痛苦在幸福的狀態下融合在一起。她的拱門-緊張的加劇和緊張的釋放-性慾。它是性高潮的替代品，無法性生活。她創造了自己的世界，並且非常幸福。*

The orientation toward the lower part of the belly, as underlined by works from Femme maison, 1947-49, to Femme couteau, 2002 (cat. no. 95), has as its protagonist the woman, as sacrificed figure and producer of liquids: the unstoppable waters of the mother, as well as of the being of solitary pleasure, In her down-turned triangle, emblem of the female, a form that contrasts with the phallus reaching upwards, the victorious eruption of the liquids assumes different connotations. The procedure of reappropriation of this overfiowing eruption is also articulated in Precious Liquids, 1992 (cat. nos. 27 and 28), where the breath of femininity is contrasted through the clash between "the coat, the tragedy of the voyeur," and "the little white dress. of a twelve-year-old girl. The dialectic between black coat and white dress is not intended to separate darkness from light, with the risk of stripping the discourse of the energetic element that illuminates the encounter, but is an attempt to assimilate the darkness and bring it, without dross, toward the white; something that is attained, however, through amputation. Here the opposites are again forced to coexist, each providing a prosthesis for the other so as to live together without fear, both as an artist and as a person. "in Precious Liquids the girf, for her own protection, for the sake of her own sanity . has to come to the terms with the flasher,*i* Thus the substance that is revealed in the Cells is Bourgeois's radiant spirit, which causes the impure jet that makes her continually feverish and inflames her existence to gush from the bottom of her unconscious. 

從1947-49年的Femme maison到2002年的Femme couteau（目錄號95）的作品突顯了朝向腹部下部的方向，即作為犧牲品和液體生產者的女人作為主角：母親不可阻擋的水，以及獨處的樂趣，在她向下彎曲的三角形中，是女性的象徵，這種形式與陰莖向上伸出形成對比，液體的勝利噴發具有不同的含義。 1992年的《貴重液體》（目錄號27和28）也闡明了重新使用這種過頭噴發的程序，其中“外套，偷窺者的悲劇”和“十二歲女孩的白色小禮服，黑色外套和白色禮服之間的辯證法無意將黑暗與光隔離，可能會剝奪闡明相遇的高能元素的話語，但這是一種試圖吸收黑暗，並使其無殘渣地流向白色；然而，這是通過截肢而實現的。在這裡，對立面再次被迫共存，彼此提供了假肢，以便彼此恐懼地生活在一起，無論是作為藝術家還是作為一個人。“在貴重液體中，為了保護自己，為了自己的理智，小女孩。必須與閃光器相處，* i *因此，細胞中所揭示的物質是資產階級的光芒四射的精神，這導致不純淨的噴射使她不斷發燒，激怒了她的存在，使她從昏迷的底部湧出。

The force that pushes from "below" is an unbroken thread that unwinds and creates a flurry of interlacings and interweavings with which, whenever possible, to close the wounds and repair the damage: Sutures, 1993 (cat. no. 35). Yet the artist does not claim to saturate the unconscious once and for all. She knows that anything that represents it is a false peace, and so her spinning is continuous, like the thread of her innumerable spools. These are even tinged with red in Red Room (Child), 1994 (cat. no. 37), since they are saturated with the passion, however infantile, that has kept the artist a prisoner since her childhood. With the Cells Bourgeois takes precautions against the gush spurting from below and pours it into an alchemical theater made of metaphors in which the base material, glass or yarn, iron or wood, fabric or clothing, is turned into a compound and into an entity fused in a higher equilibrium. In them everything can be transmuted, the impure into the pure, the fixed into the mobile, in order to make sure that the bound energy is transformed into a positive vortex. A process of "ascesis" and transfiguration that liberates the creature from the cruelty of a past that has tortured its flesh.

從“下面”推動的力是一條不間斷的線，該線不纏繞並形成一排交錯的交織和交織，在可能的情況下，可以用它們閉合傷口並修復損傷：縫合線，1993年（目錄號35）。然而，藝術家並沒有聲稱一勞永逸地浸入無意識。她知道任何代表它的東西都是虛假的和平，因此她的旋轉是連續的，就像無數線軸的線一樣。這些作品甚至在1994年的《紅色房間（兒童）》（目錄編號37）中都帶有紅色，因為它們充滿了激情，無論多麼幼稚，從小就成為藝術家的囚徒。資產階級會採取預防措施，防止噴湧從下方噴湧而出，並將其倒入由隱喻製成的煉金術堂中，在該劇場中，基礎材料，玻璃或紗線，鐵或木材，織物或衣物被轉化為化合物並融合為實體在更高的平衡中。在它們中，所有東西都可以被mut變，不純變為純淨，固定變為可移動，以確保束縛能轉化為正渦旋。一種“禁慾”和變身的過程，將生物從遭受其肉體折磨的過去的殘酷中解放出來。

p.18

Cruelty is not to be evaded through an effort of negation. To be reborn it is necessary to pay actively for one's resigned passivity, in order to turn it into redeeming power. And since the fire of the body, which conditions the mind as well, passes through clothing, its material extension, the dress in Cell (Clothes), 1996 (cat. nos. 41 and 42) is a frozen and hung epidermis, crystallized and stripped of carnality. This lives elsewhere, stratified in the unconscious "shallows" of the artist who combines and renews it to demolish the "fixity of fears and torments, illuminating them with a flow of incandescent materials that dissolve, just as the alchemist does, the pathological being and reinvigorates it to embark on other formal and liberating ventures. The empty and hanging cloth is almost an aerial state of the body to which the artist inevitably matches the garment as solid body. Here fabric and fiesh tend to coincide, from Couple / (cat. no. 53) to Single I (cat. no. 39) and Single lII (cat. no. 44). all 1996, in which the human figure is not ghostly, because represented by the coat or dress, but carnal and solid. It possesses organs for coupling, so as to form a "couple," or an anus, a nose, breasts and a mouth through which vital fluids can pass and emerge. Through the organs of life passes decay, as well as vital energy. Here we have reached a complete surmounting of the metaphysical period that had its origin in the sculptures from 1947-49, in which the artist was still steeped in silence, and found expression from 1962 until 1983 in forms, made of plastic and latex, that took life from a carnal and mental leap, In Couple I and Couple (cat. no. 54), both 1996, the void that was inside the bodies is set free and celebrates the totality ofa body that lends substance to the clothing, so that the figures can abandon themselves to an amorous ardour, in the complex modes of a relationship that oscillates from pieasure to torture. The quest for homogenization of fabric and skin became constant, leaving its mark on all her work from 1996 to 2009, in which the organic nature of the figures is communicated by the intensity of a pink material- "Pink is feminine. It represents a liking and acceptance of the self-or of a piece of knitwear or embroidered cloth, from Three Horizontals, 1998 (cat. no. 66) to Do Not Abandon Me, 1999 (cat. no. 64), from Cell XI, 2000 to Mother and Child, 2001 (cat. no. 72) and from Seven in a Bed, 2001 (p. 327), to Femme couteau, 2002.

不要通過否定努力來逃避殘酷。要重生，必須積極地為自己辭職的被動付出代價，以便將其轉變為救贖力量。而且由於身體的火焰也影響著心靈，通過衣服，其物質的延伸穿過，因此《細胞（衣服）》（1996年，目錄號41和42）中的衣服是凍結的，懸掛的表皮，結晶並失去了肉體。它存在於其他地方，分層於藝術家的無意識的“淺層”中，後者將其結合併更新以消除“恐懼和折磨的固定性”，並像煉金術士一樣用溶解的白熾物質流來照亮它們，就像病理學家那樣。使它重新煥發活力，以開展其他正式的解放活動。空蕩蕩的掛布幾乎是人體的空中狀態，藝術家在服裝上不可避免地將其與實體相匹配。在這種情況下，織物和肉質往往是重合的，來自Couple /（cat。 1996年第53號至第I類（第39號）和第II類（第44號）），其中人的身影不是虛幻的，因為以大衣或連衣裙為代表，但肉體和結實。它具有用於耦合的器官，從而形成“耦合”或肛門，鼻子，乳房和嘴巴，重要的液體可以通過這些器官通過並出現，生命器官也通過其中而衰變，以及重要的能量。我們已經完全超越了形而上學的時期d起源於1947-49年的雕塑作品中，藝術家仍然沉浸在沉默中，並於1962年至1983年間以塑料和乳膠製成的形式表達出來，這種形式使人擺脫了肉體和精神上的飛躍，一對我和一對（貓。沒有。 54），兩個都是在1996年，人體內部的空隙被釋放，慶祝一個整體向衣物提供了物質，從而使人物能夠以一種複雜的關係振蕩的方式將自己拋棄為一種令人討厭的熱情從貪婪到折磨。對織物和皮膚均質化的追求一直不變，在她從1996年到2009年的所有作品中都留下了印記，其中人物的有機本質通過粉紅色材料的強度傳達出來：“粉紅色是女人味。它代表了喜歡並接受一件或一件針織品或繡花布的自拍或自拍，從1998年《三橫》（目錄號66）到《不要放棄我》（1999年）（目錄號64），從《細胞十一》（2000年）到母親和《兒童》（2001年，目錄號72）和《一張床中的七個人》（2001年，第327頁）到2002年的《蛇蠍姑娘》。

The woven skin that surrounds and covers the body or the head is the "covering through which the artist speaks, the "mask" with which she communicates the subject that is not there, but that sinks in the distance, although it still makes her suffer. The fabric is the surface over which passes her horror of self and disgust for life, but it is also the vehicle with which she tracks down her identity. The means of obtaining another chance of life, with which to put back together the fragments of herself that loneliness and abandonment had scattered. In Untitled (Five Arms) and Untitled (Leg and Jewelry), both 1996 (cat. nos. 52 and 49), the handkerchief and the piece of cloth "hold" portions of a doll and precious things. They illuminate a worid of "residues" that seem marginal but actually form the crux of Bourgeois's discourse. They are "drawings, composed of objects, in the manner of Surrealist narration," that are not fixed in a rigid structure but live by dismemberments and metamorphoses. They are compositions of an experience that is expressed by means of ephemeral and residual entities which tend to communicate in a language that feeds on self-revelation. That is to say on a script that is articulated by self-production, whose disclosure is entrusted to what the text contains. Here a broken and disjointed being, the female, who is pierced in many moments of her existence, Ike a "St. Sebastienne" (cat. no. 50) and a figure that is hard to pin down because she has lost the original system of her totality. These maps of cloth, on which objects or images are set, sewn or embroidered, are a gaze turned on the infinity of the private that is hidden, because it is tormented by her fear. So what is found on the squares of fabric, handkerchiefs or the like is a "stigma," a brand that implies both a mask and a lack. Something that covers up the face of suffering and paranoia, but also the lack of alfection and respect: a dual identity that is linked to physical delirium, as well as to the detached awareness of the self. Owing to the force of the figural, and therefore unconscious, investment, the fabric grows disquieting, germinating confused, disconnected and muddled feelings.

圍繞並覆蓋身體或頭部的編織皮膚是“藝術家說話所用的覆蓋物”，是她傳達不在現場但沉入遠處的對象的“面具”，儘管它仍然使她遭受痛苦。織物是傳遞自我的恐懼和對生活的厭惡的表面，同時也是她追踪自己身份的媒介，是獲得另一種生命機會的手段，可以將生命的碎片重新組合在一起。在《無題（五臂）》和《無題（腿和珠寶）》（1996年，目錄號52和49）中，手帕和一塊布“握住”了一個洋娃娃和珍貴的部分它們照亮了似乎有些微不足道但實際上構成資產階級話語癥結的“殘渣”，它們是“由物體組成的，以超現實主義敘述的方式構成的圖畫”，並沒有固定的剛性結構，而是生活在肢解和變態軟管。它們是通過短暫的和殘差的實體表達的經驗的組合，這些實體往往以以自我啟示為基礎的語言進行交流。也就是說，在通過自我生產表達的腳本上，其公開內容被委託給文本所包含的內容。在這裡，一個破碎而脫節的存在，一個在她存在的許多瞬間被刺穿的女性，艾克（Ike）是一個“聖塞巴斯蒂安（St. Sebastienne）”（第50號貓），這個人物很難確定，因為她失去了原來的系統她的全部。這些布圖上放置，縫製或繡有對像或圖像的布圖，注視著隱藏著的私人的無限，因為她的恐懼使她痛苦。因此，在織物，手帕或類似物品的正方形上發現的是“柱頭”，這是一個暗示口罩和缺失的品牌。一種掩蓋了苦難和偏執的面孔，但又缺乏愛護和尊重的東西：一種雙重身份，與身體上的ir妄症以及對自我的超然意識有關。由於形象的力量，因此無意識的投入，織物變得令人不安，發芽混亂，脫節和混亂的感覺。