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'Abbildungen' is the latest exhibition of work by industrial design titan Konstantin Grcic, open now at Kunsthalle Bielefeld. Pictured from left: 'Medici', for Mattiazzi, 2012; 'Hut_Ab', for Moormann, 1998; 'Briol', for KGID, 1990; 'Dahlem', for Arflex Japan, 2014; 'Step', for Moormann, 1995. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

德国的Kuns底le Bielefeld公司目前正在举办“AbbilDungen”展览，这是Konstantin Grcic的最新作品展览，该展览是一家著名的墙纸附属公司，也是欧洲最具影响力的工业设计师之一。在此，Grcic通过简单和复杂的底座、基座、架子和展示柜，特别是为这一场合设计和制作的，展示了他的“设计作品”。

1991年，Grcic在私人业主的要求下，为Constantin Brancusi的精湛雕塑“鸟”设计了一个坚固的木底座。15年后，应昆赛尔·比勒费尔德大胆的导演弗里德里希·梅斯切德的邀请，这位设计师将罗丹的“La Douleur”呈现在一个Sockel的工业调色板上。

Grcic解释说：“Brancusi桩是我在这次展览中最早的作品，是罗丹的最新作品。”因此，这两个基座构成了一个框架的展览作品。Sockel是一种绝对经典的表现形式。这正是我感兴趣的。Sockel正在为数字创造空间，并极大地挑战了我们以新的方式看待事物。即将离任的泰特现代导演克里斯·戴森(ChrisDercon)在开幕词中正确地指出，“对于康斯坦丁·格尔西克来说，家具永远是一个支柱”。

然而，Grcic也受到了菲利普·约翰逊(PhilipJohnson)设计的昆斯太尔·比勒费尔德(Kuns底leBielefeld)建筑的启发，这座建筑是当地实业家鲁道夫·奥古@@的确，建筑学迷们都知道约翰逊把他的昆斯底勒想象成艺术的支柱。Grcic的展品仔细地跟随着约翰逊的房间比例，他弯曲的墙壁和透过窗户看到的自然景观。

本月，巴黎的加莱丽·克雷奥(Galerie Kreo)也将展出Grcic的新家具系列，其中包括一张由安东内洛·达·梅西纳(Antonello Da Messina)1475年在伦敦国家美术馆收藏的十字架画启发的组合桌子和长椅。

艺术史学家多纳廷·格劳(Donatien Grau)解释说，“这五个装置就像一个小平台，几乎是一个舞台，似乎把我们和世界分开了。”

基座是一个基本的艺术世界的考虑和设计的重点，至少根据Dercon和米切德。博物馆馆长们似乎应该向GRCIC、Jasper Morrison和其他设计师学习如何以同时刺激和精确的方式展示艺术。

Grcic is presenting a selection of his 'design-oeuvre' via both simple and complex bases, pedestals, shelves and display cases, especially designed and fabricated for the occasion. Pictured from left: 'Keyboard', for Marsotto Edizioni, 2014; 'Tuffy–The Wild Bunch', for Magis, 2014. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Fifteen years after creating a plinth for Bird, by Constantin Brancusi, Grcic presents Rodin's La douleur on a sockel redolent of an industrial palette. Pictured from left: 'Chair_One', for Magis, 2004; sockel for La douleur, by Auguste Rodin, 1904 (for KGID, 2016). Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Says Grcic, 'The sockel is an absolutely classical form of presentation... creating space for figures and greatly challenges us to look at things in a new way.’ Pictured: 'Sam Son', for Magis, 2015. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Grcic was also inspired by Philip Johnson’s architecture for the Kunsthalle Bielefeld, privately commissioned by the local industrialist Rudolph August Oetker in 1968. Pictured: 'Diana A–F', for ClassiCon, 2002. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Pictured from left: 'PRO', for Flötotto, 2012; 'Mayday', for Flos, 1999. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Grcic’s displays carefully follow Johnson’s proportions of the rooms, his curved walls and the views of nature through the windows. Pictured from left: 'Chaos', for ClassiCon, 2001; 'Pallas', for ClassiCon, 2003. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Pictured from left: 'Traffic' chaise longue, for Magis, 2013; 'OK' pendant, for Flos, 2013. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Pictured from left: 'Miura', for Plank, 2005; 'Subito', for Serafino Zani, 2010. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

Outgoing Tate Modern director Chris Dercon stated during his opening speech that, 'for Konstantin Grcic, furniture is always a plinth'. Pictured: 'Chair_One', for Magis, 2004. Photography: Wolfgang Günzel. Courtesy Wolfgang Günzel and Kunsthalle Bielefeld

keywords:Galleries, Konstantin Grcic, Germany, Furniture design

关键词：画廊，康斯坦丁·格尔西，德国，家具设计