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The Last Flemish Primitive: Jan Vercruysse’s Self-Fashioning of Artisthood and National Identity
Arts Pub Date : 2022-01-06 , DOI: 10.3390/arts11010013
Anton Pereira Rodriguez

In 1989, the artist Jan Vercruysse (1948–2018) stated that he was “the last Flemish Primitive”. This comment, despite being only a fragment of a lengthy interview with Carolyn Christov-Bakargiev, became a trope in subsequent writings on Vercruysse. I argue that the statement was part of a deliberate strategy by Vercruysse in shaping his identity as a (Belgian) artist. First, I focus on Vercruysse’s Portraits of the Artist (1979–1984), a series of photographic works in which he uses the genre of the self-portrait—thereby implicitly referring to the Flemish Primitives—as a means to express the constructedness of artistic identity. Second, I explore Vercruysse’s construction of his identity and his relationship vis-à-vis the notion of Belgian art. Finally, the statement uttered in 1989 will be contextualized within the changing political and cultural context of Belgium and Flanders in the 1980s. I demonstrate how the statement can be read as invoking a radically different conception of Belgian art during this period.

中文翻译:

最后的佛兰芒原始人:Jan Vercruysse 对艺术性和民族认同的自我塑造

1989 年,艺术家 Jan Vercruysse(1948-2018)称他是“最后一位佛兰德原始人”。这条评论尽管只是对 Carolyn Christov-Bakargiev 的冗长采访的片段,但在随后关于 Vercruysse 的著作中成为了一个比喻。我认为该声明是 Vercruysse 在塑造他作为(比利时)艺术家的身份时深思熟虑的策略的一部分。首先,我专注于 Vercruysse 的《艺术家肖像》(1979-1984),这是一系列摄影作品,他在这一系列摄影作品中使用了自画像的类型——因此隐含地指的是佛兰芒原始人——作为表达艺术建构性的一种手段。身份。其次,我探讨了 Vercruysse 对其身份的建构以及他与比利时艺术概念的关系。最后,1989 年发表的声明将在 1980 年代比利时和佛兰德斯不断变化的政治和文化背景下进行语境化。我展示了该声明如何被解读为在此期间援引了一种截然不同的比利时艺术概念。
更新日期:2022-01-06
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