拍品专文
"The meaning is really just there…one only has to look".
Felix Gonzalez-Torres
The motif of doubling appears throughout Felix Gonzalez-Torres’ oeuvre and is often interpreted as a veiled allusion to companionship and love. He paired identical clocks, round mirrors, light bulbs, and rings, as in the present work, to create allusions of a shared existence. Such doubled forms can conjure myriad poignant or sublime associations. Created in 1995, during the height of the AIDS epidemic and at a moment of pervasive homophobia, “Untitled” can also be interpreted as an indirect metaphor for homosexual relationships. Yet, by strategically excluding specific visual or textual allusions, Gonzalez-Torres ensured that the work could speak universally to both homosexual and heterosexual love—and that such imagery would not be censored upon its exhibition. “Gonzalez-Torres does not however, claim to give specific meaning to such commercially produced things—instead he just “makes evident” potential poetic associations and possibilities for personification (N. Spector, Felix Gonzalez-Torres, exh. cat., The Solomon R. Guggenheim Museum, New York, 1995, p. 74). Although political, works such as “Untitled” are also suffused with idealism and optimism. The silver rings that comprise the present work form a horizontal figure eight, a symbol of infinity, suggesting renewal, perpetuity, and an ongoing presence.
Felix Gonzalez-Torres
The motif of doubling appears throughout Felix Gonzalez-Torres’ oeuvre and is often interpreted as a veiled allusion to companionship and love. He paired identical clocks, round mirrors, light bulbs, and rings, as in the present work, to create allusions of a shared existence. Such doubled forms can conjure myriad poignant or sublime associations. Created in 1995, during the height of the AIDS epidemic and at a moment of pervasive homophobia, “Untitled” can also be interpreted as an indirect metaphor for homosexual relationships. Yet, by strategically excluding specific visual or textual allusions, Gonzalez-Torres ensured that the work could speak universally to both homosexual and heterosexual love—and that such imagery would not be censored upon its exhibition. “Gonzalez-Torres does not however, claim to give specific meaning to such commercially produced things—instead he just “makes evident” potential poetic associations and possibilities for personification (N. Spector, Felix Gonzalez-Torres, exh. cat., The Solomon R. Guggenheim Museum, New York, 1995, p. 74). Although political, works such as “Untitled” are also suffused with idealism and optimism. The silver rings that comprise the present work form a horizontal figure eight, a symbol of infinity, suggesting renewal, perpetuity, and an ongoing presence.