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拍品專文
Cremaster 1: Orchidella is a memorable and celebratory still image from Matthew Barney's film Cremaster 1. This opening sequence from his epic and extraordinary five-part Cremaster cycle concentrates on the themes of ascension, joy, elevation and orgasm. Set in Bronco Stadium in Barney's hometown of Boise, Idaho, the film outlines a Busby Berkeley-like dance spectacle incorporating a host of 1930s-attired hostesses and two Goodyear blimps.
The cremaster muscles, from which Barney's series takes its name, are the muscles that control the height of the testicles, a height that varies according to the outside temperature. The themes of ascension and descent run throughout the Cremaster series with the strange, sumptuous, dream-like and fantastical reality of Barney's work conveying a pervasive sense of life on the threshold of a new reality. Cremaster 1 depicts the state of highest elevation, a state of self-enclosed euphoria when the self, like the testicles in a state of maximum elevation and having shrunk back into the body, are narcissitically enclosed within themselves. Metaphorically depicted by the twin Goodyear ships and the Utopian state of celebration on the field below, Cremaster 1 also uses mythology to hint at the hubristic danger of such an isolated and self-enclosed state, employing grapes - the symbols of Bacchus - to warn of how such Dionyisan excess and self-love can lead to the loss of self.
The cremaster muscles, from which Barney's series takes its name, are the muscles that control the height of the testicles, a height that varies according to the outside temperature. The themes of ascension and descent run throughout the Cremaster series with the strange, sumptuous, dream-like and fantastical reality of Barney's work conveying a pervasive sense of life on the threshold of a new reality. Cremaster 1 depicts the state of highest elevation, a state of self-enclosed euphoria when the self, like the testicles in a state of maximum elevation and having shrunk back into the body, are narcissitically enclosed within themselves. Metaphorically depicted by the twin Goodyear ships and the Utopian state of celebration on the field below, Cremaster 1 also uses mythology to hint at the hubristic danger of such an isolated and self-enclosed state, employing grapes - the symbols of Bacchus - to warn of how such Dionyisan excess and self-love can lead to the loss of self.