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拍品專文
'AB: I first used them ['Happy Sacks'] for an exhibition at the Hamburger Kunstverein, because I needed a position for people to really sit and spend time. After that the use became more a structure within the work - a vehicle to engage with physically...
SK:...an island for the 'social'.
AB: When Donald Judd was making furniture he would always say something like, a chair is not a sculpture, because you can not see it when you sit in it. So its functional value stops it from being an art object - but I think that is nonsense!
SK: Your 'Happy Sacks' bring the potential viewer out of their vertical perspective and into a horizontal viewpoint...
AB: I've become bored by the conventions in museums and the erect authority of art objects. By lying down and looking horizontally it relativises the object's authority...
SK: And they look quite childish, like toys in the playroom at Ikea. I think their infantality is what makes them so physically attractive, it's like falling back in time - you become aware of the body's polymorphousness.
AB: The viewer is the collaborator in the sense that she defines, perceives the meaning in her own terms. This would happen anyway with any work, provided there is a viewer, what I try to do, is make the fact of interpretation, understanding or perceiving, part of the purpose of the work itself'. (S. Kalmar and Angela Bulloch, in: 'Angela Bulloch. Satellite', Zurich 1998, p. 50).
SK:...an island for the 'social'.
AB: When Donald Judd was making furniture he would always say something like, a chair is not a sculpture, because you can not see it when you sit in it. So its functional value stops it from being an art object - but I think that is nonsense!
SK: Your 'Happy Sacks' bring the potential viewer out of their vertical perspective and into a horizontal viewpoint...
AB: I've become bored by the conventions in museums and the erect authority of art objects. By lying down and looking horizontally it relativises the object's authority...
SK: And they look quite childish, like toys in the playroom at Ikea. I think their infantality is what makes them so physically attractive, it's like falling back in time - you become aware of the body's polymorphousness.
AB: The viewer is the collaborator in the sense that she defines, perceives the meaning in her own terms. This would happen anyway with any work, provided there is a viewer, what I try to do, is make the fact of interpretation, understanding or perceiving, part of the purpose of the work itself'. (S. Kalmar and Angela Bulloch, in: 'Angela Bulloch. Satellite', Zurich 1998, p. 50).