In 1992, artist David Lamelas installed Quand le ciel bas et lourd at the temporary exhibition America: Bride of the Sun—500 Years of Latin-America and the Low Countries at the Royal Museum of Fine Arts Antwerp (KMSKA), a show that explored the cultural, economic, and political exploitation of indigenous America by European forces, and its project of colonization and erasure. Lamelas’ work remained a public installation in KMSKA’s garden until March 2021 when it was dismantled as a result of the museum’s years-long renovation. This article examines the work in the context in which it was exhibited and later destroyed as a lens to examine two aspects of contemporary art and history in Flanders. Firstly, it foregrounds the complex, transnational heritage that Lamelas’ work presents and considers its implications upon the local, cultural scene in which it resided from the 1960s to 70s, in the 1990s and in the present. Secondly, the text frames Quand le ciel bas et lourd and America: Bride of the Sun as reverberating with the emergence of nationalism in Flanders and a global, postcolonial discourse in the art world. This article considers how aspects of Lamelas’ work and its elusive meanings over space and time might challenge monolithic understandings of Flemish art.

中文翻译：

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当天空低沉时：大卫·拉梅拉斯和法兰德斯的跨国遗产

1992 年，艺术家大卫·拉梅拉斯在安特卫普皇家艺术博物馆 (KMSKA) 的临时展览美国：太阳的新娘——拉丁美洲和低地国家 500 年中安装了 Quand le ciel bas et lourd，该展览探讨了欧洲势力对美洲原住民的文化、经济和政治剥削，以及其殖民和消灭计划。Lamelas 的作品一直是 KMSKA 花园中的公共装置，直到 2021 年 3 月由于博物馆长达数年的翻修而被拆除。这篇文章在它被展出和后来被毁坏的背景下审视了这件作品，作为一个镜头来审视法兰德斯当代艺术和历史的两个方面。首先，它突出了拉梅拉斯作品所呈现的复杂的跨国遗产，并考虑了它对当地的影响，从 1960 年代到 70 年代，在 1990 年代和现在，它所居住的文化场景。其次，文本框架 Quand le ciel bas et lourd 和美国：太阳的新娘随着民族主义在法兰德斯的出现和艺术界的全球性后殖民话语而回荡。本文考虑了拉梅拉斯作品的各个方面及其在空间和时间上难以捉摸的意义如何挑战对佛兰德艺术的整体理解。