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➤ BOURG138645, Louise Bourgeois, Untitled, 1993, Painted wood and fabric wall relief, 57.2 x 66 cm / 22 1/2 x 26 in. 67.3 x 76.2 x 8.9 cm / 26 1/2 x 30 x 3 1/2 in (framed). Photo | Christopher Burke.
路易絲·布爾喬亞「軟景」
法裔美國藝術家路易絲·布爾喬亞被公認為上世紀最重要且最具影響力的藝術家之一，她的作品涵蓋由精細的繪畫至宏大的裝置作品，通過形式與象徵相結合的視覺語言，表達豐富而細膩的情感。即將於3月25日開幕的展覽「軟景」旨在探索布爾喬亞藝術中風景與人類身體的動態關係。此次展覽由菲利普·拉瑞特·史密斯（Philip Larratt-Smith）策劃，是布爾喬亞在豪瑟沃斯香港舉辦的第二場個展。而展覽同期，由東京森美術館策劃的布爾喬亞大型巡迴回顧展將巡至台北富邦美術館，於2025年3月15日持續展出至6月30日。
Widely recognized as one of the most important and influential artists of the past century, French-American artist Louise Bourgeois’s work expresses a variety of emotions through a visual vocabulary of formal and symbolic equivalents, ranging from intimate drawings to large-scale installations. Opening on 25 March, ‘Louise Bourgeois. Soft Landscape’ explores the dynamic relationship between landscape and the human body in Bourgeois’s work. Curated by Philip Larratt-Smith, this is her second show at Hauser & Wirth Hong Kong, and coincides with the ongoing tour of a major survey exhibition organized by the Mori Art Museum, Tokyo, which will be on view at the Fubon Art Museum, Taipei, from 15 March to 30 June 2025.
➤ BOURG138644, Louise Bourgeois, Untitled, 1993, Painted wood and fabric wall relief, 38.1 x 120 x 5.1 cm / 15 x 47 1/4 x 2 in. 48.3 x 130.2 x 17.8 cm / 19 x 51 1/4 x 7 in (framed). Photo | Sarah Muehlbauer.
➤ BOURG89684, Louise Bourgeois , Le père et les 3 fils (#3), 2006, Ink, watercolor, gouache, pencil, and etching on paper; diptych, 185.4 x 124.5 x 7.9 cm / 73 x 49 x 3 1/8 in (framed), Left sheet | 149.5 x 41.6 cm / 58 7/8 x 16 3/8 in. Right sheet | 149.2 x 41.3 cm / 58 3/4 x 16 1/4 in. Photo | Timothy Doyon.
「軟景」展覽呈現一系列布爾喬亞在1960年代至2010年去世前創作的精選作品，圍繞巢穴、洞窟、開口、圓丘、乳房、螺旋、蛇及水組成的圖像系統架構一系列共五組對話關係。展覽呈現的圖景與布爾喬亞在悠長藝術生涯中積極探索的主題及關注議題相契合：好母親；繁殖與生長；退卻與保護；脆弱與依賴；及時間的流逝。布爾喬亞的藝術形式透過青銅、橡膠、鉛、鋁、木及大理石等豐富媒材進行表達。此次展覽集中關注布爾喬亞創作的多種形式手法，如懸掛、螺旋及浮雕等。這些作品也見證了布爾喬亞在抽象與具象之間往復的長期創作志趣。
Consisting of a selection of works from the 1960s up until her death in 2010, ‘Louise Bourgeois. Soft Landscape’ sets up a series of five interlocking dialogues that revolve around an iconography of nests, holes, cavities, mounds, breasts, spirals, snakes and water. This imagery corresponds to the themes and preoccupations that Bourgeois explored over the course of her career: the good mother, fecundity and growth, retreat and protection, vulnerability and dependency, and the passage of time. Her forms are expressed using such diverse materials as bronze, rubber, lead, aluminium, wood and marble. The exhibition foregrounds certain formal devices developed by Bourgeois, such as the hanging form, the spiral and the relief. As always in her work, there is an oscillation between abstraction and figuration.
➤ BOURG37244, Louise Bourgeois, Lair, 1986, Rubber, hanging piece, 109.2 x 53.3 x 53.3 cm / 43 x 21 x 21 in. Photo | Christopher Burke.
➤ BOURG138628, Louise Bourgeois, Spider, 2000, Steel and marble, 52.1 x 44.5 x 53.3 cm / 20 1/2 x 17 1/2 x 21 in. Photo | Christopher Burke.
貫穿展覽空間的有布爾喬亞的「巢穴」（Lair）系列作品。複雜的心理精神狀況曾困擾布爾喬亞多年，使其難以投身藝術創作，1960年代初起她從深度抑鬱及長期精神分析治療中走出，隨後開創了這一系列。「巢穴」系列雕塑是帶有庇護意味的避世之所，宛如家一般，也傳達出一種內在性的、內省與退卻的情緒。雕塑作品《蜘蛛》（Spider，2000）首次在亞洲展出，其靈感部分源自藝術家曾收到的一枚鴕鳥蛋。相較於保護姿態的蜘蛛，這枚蛋的巨大尺寸象徵著母職沈重的責任。布爾喬亞標誌性的蜘蛛作品是她對母親的頌歌，同時亦是自畫像——她認為自己的藝術源於自己身體，正如蜘蛛從自身織出蛛網。
On view throughout the exhibition space are works from Bourgeois’s Lair series, first created by the artist in the early 1960s as she emerged from a deep depression and a long immersion in psychoanalysis, which all but replaced her artmaking for the better part of a decade. The Lair sculptures are protective places of retreat, like a home, and convey a mood of interiority, introspection and withdrawal. Making its debut in Asia, the sculpture ‘Spider’ (2000) was loosely inspired by an ostrich egg given to the artist. The large scale of the egg, relative to the spider that it contains, expresses the burdensome responsibilities of motherhood. Bourgeois’s iconic spiders were conceived as an ode to her mother, yet the spider is also a self portrait; Bourgeois felt that her art came directly from her body, just as a spider spins its own web.
➤ BOURG138628, Louise Bourgeois, Spider, 2000, Steel and marble, 52.1 x 44.5 x 53.3 cm / 20 1/2 x 17 1/2 x 21 in. Photo | Christopher Burke.
➤ BOURG119559, Louise Bourgeois, Untitled, 1986, Enamel, gouache, drilled holes and carving on wood, 18.7 x 14.6 x 2.9 cm / 7 3/8 x 5 3/4 x 1 1/8 in, 37.5 x 34 x 3 cm / 14 3/4 x 13 3/8 x 1 1/8 in (framed). Photo | Damian Griffiths.
此次展覽也將呈現多件此前從未公開展出的作品。其中一間展廳內的四件設色木制壁掛浮雕結合了風景與人類身體形式。布爾喬亞用曾裝載「人物」（Personage）系列雕塑的老舊木箱內部材料創作了這些壁掛浮雕。她將這些木制構件拼接在一起，形成一個中央開口，有時也會在開口處填補內部元素。這些浮雕所置入的金屬框架，使其更具雕塑感與物件屬性。與這一系列彩繪風景浮雕一同展出的，是一幅橫向延展的刮板風景作品。在這裡，圖像的呈現方式是透過耐心地刮擦深色塗層表面，勾勒出纖細的白色線條。最終呈現出的畫面是一幅孤獨的肖像，一個沒有他人的世界。
A number of works that have never been exhibited before are on view in this exhibition. In one gallery, four wall reliefs of painted wood merge landscape and biomorphic form. Bourgeois fashioned these reliefs out of the interiors of old crates once used to transport her Personage sculptures. The way she put these wooden pieces together created a central opening that she would sometimes populate with internal elements. The metal frames that house these reliefs serve to make them feel more sculptural and object-like. This series of painted landscape reliefs is complemented by a long horizontal scratchboard landscape. Here the mark making is achieved through patiently scratching the dark-painted surface to make a delicate white line. The resulting image is a portrait of isolation, of a world without other people.
同樣首次展出的作品還包括青銅噴泉作品《乳房》（Mamelles）（1991，於2005年鑄造），作品由一排乳房形狀的長形浮雕組成，水從五個乳頭流出，匯入作品下方的水池之中。布爾喬亞鍾情於觀察不同媒材如何改變她的藝術形式意涵，她曾將這件雕塑製成大理石及粉紅橡膠版本。水的無盡流淌及傾灑象徵了時間的流逝，同時也代表了為孩子提供營養的好母親形象。
Also exhibited for the first time is the bronze fountain ‘Mamelles’ (1991 [cast 2005]), which consists of a long frieze of multiple breast-like forms, with water spilling from five of the nipples into a basin below. Bourgeois – who liked seeing how different materials could alter the meaning of her forms – also realized this sculpture in marble and pink rubber. The endless flow and splashing of the water symbolize the passage of time, but it also represents the good mother who provides nourishment for her children.
➤ BOURG138631, Louise Bourgeois, Landscape, 2002, Acrylic and scratched drawing on India ink prepared board, 61 x 182.9 cm / 24 x 72 in, 68.6 x 190.5 x 5.1 cm / 27 x 75 x 2 in (framed). Photo | Sarah Muehlbauer.
「軟景」展覽亦將展出布爾喬亞在生涯晚期創作的一對紙上作品。樂譜紙張上的爛漫筆觸飄逸於抽象風景及波流型態之間，也同樣表達了時間的流逝。
A pair of late works on paper similarly express the passage of time through flowing calligraphic gestures on music paper that hover between an abstracted landscape and wave-like forms.
《時間》（Time，2004）來自於布爾喬亞在2003至2004年間創作的一系列雙面繪畫。重複的筆跡帶有一種冥想特質，對布爾喬亞來說或也起到了安心凝神的作用。在多件畫作中，筆跡線條的微妙變化與肌理差異造就了豐富的畫面（繪製線條的行動與穿針引線的編織行動有內在相近性），而偶爾出現的字詞、名字及短句，徬彿是從潛意識中浮現出來。《時間》（2004）像是一種日記般，正如藝術家手中的筆是記錄思緒及情感最細微變化的工具。
‘Time’ (2004) belongs to a series of suites of double-sided drawings which Bourgeois made in 2003-04. The repetitive mark-making has a meditative quality, and perhaps exerted a calming effect on the artist. The richness emerges in the slight inflections and differences in line and texture among the sheets (there is an affinity to weaving), and the occasional appearance of words, names and phrases that seem to surface from the unconscious. ‘Time’ (2004) has a diaristic quality, as if the artist’s pen were an instrument for registering the most minute shifts in the artist’s thought and mood.
