科诺贝尔(Imi Knoebel)高清作品《奶油19》

作品名：奶油19

原名：空间19

艺术家：科诺贝尔

年代：1968

风格：极简主义

类型：装置

＜P＞RUM 19（19室），1968，是IMI Kunbele作品中的一个关键性作品，预示着他成熟的审美和实践。当他还是约瑟夫·博伊斯领导下的梅斯特学生时创作的，它取自于它的执行地点，他的工作室在库斯塔卡迈德·杜塞尔多夫的数量。1所有77个部分——担架、平面元件、立体和矩形体积——都是用木头和木料制成的。在未经处理的状态下使用的纤维板；这些简单几何部件的原始状态给人的印象是它们正在等待将来的部署。作为当时很少用于制作艺术品的普通建筑材料，Masonite很快成为Knoebel的首选材料之一，原因在于它的日常使用和现成的可用性。这种谦逊的普通性，加上它预设的直截了当的木工技术，表明了他的信念，艺术家的实践是平庸和务实的，作为一个农场工人，城市工人或建筑师。尽管他对克西米尔·马列维奇和贝伊斯始终怀有崇敬之情，但他宣称，如今艺术家的角色与受神秘信仰启发的富有远见的创造者的角色几乎没有关系。

Title:Room 19

Original Title:Raum 19

artist:Imi Knoebel

Date:1968

Style:Minimalism

Genre:installation

Raum 19 (Room 19), 1968, is a key work in Imi Knoebels oeuvre, prescient of his mature aesthetic and practice. Created while he was still a Meister-student under Joseph Beuys, it took its title from the place of its execution, the number of his studio in the Kunstakademie Düsseldorf.1 All seventy-seven parts— stretchers, planar elements, stereometric and rectangular volumes—are fabricated from wood and fiberboard, which has been used raw, in an untreated state; the pristine condition of these simple geometric components gives the impression that they await future deployment. A commonplace building material then rarely used for the making of artworks, Masonite soon became one of Knoebels preferred materials on account of its quotidian serviceability and ready availability. This humble ordinariness, together with the straightforward carpentry techniques it presupposes, signals his belief that the artists practice is as banal and pragmatic as that of a farm laborer, an urban worker, or an architect. Notwithstanding his abiding reverence for Kasimir Malevich and Beuys, he claims that an artists role today has little to do with that of a visionary creator inspired by mystical beliefs.