For the 'Calder Shadows' exhibition, Venus Over Manhattan Gallery has spot-lit each work so that its accompanying shadow comes fully into view

如果像我们一样，你认为你已经看到了亚历山大·考尔德的一切，那就再想想吧。这位标志性的美国艺术家是在纽约金星曼哈顿画廊举办的一次新展览的主题，这场展览是在黑暗中独特地上演的。

在考尔德基金会的支持下组织起来的“考尔德阴影”是对考尔德可识别的作品的一个诱人的新发现，它仍然坚持他在整个职业生涯中所倡导的抽象和动力学的原则。

展示在一个简朴，昏暗的空间，展览看到十一件作品，从1929年到1974年，巧妙地点亮，使每一个伴随的阴影充分进入视野。像1948年的“新日头”(The New Ritou)和1944年的“小黑花”(Little Black Flow)这样精致的手机，是代表考尔德成熟风格的私人拥有的作品，自20世纪40年代以来就没有展出过-静静地挂在身后，身后是更大、不祥的阴影。薄薄的金属线被转换成动态的线条图，随着空气的微小运动而摆动和转动，突出了考尔德工作的动力学方面。

这一新颖的展览灵感来自于考尔德在黑暗中安装雕塑并用定向光拍摄雕塑的档案图像。这些照片吸引了画廊创始人亚当·林德曼的注意，他决定重新定位卡尔德熟悉的美学。他解释说：“我想在看到他的时候，以某种方式唤起考尔德。”“我想了解一下我看到这些碎片移动并静止不动的情感方式。”

在黑暗的画廊中，甚至像洛亚尔先生（RunMrime'）（1967）和“红色曲线”（1973）这样的静止作品都具有比生命更大的存在。两者都是马奎特，这揭示了一点关于考尔德如何解决规模问题时，他设计了他巨大的稳定。

在器乐配乐的支持下，“考尔德阴影”体现了艺术家以抽象和探索著称的品质。林德曼说，实验是考尔德工作的一部分。“这里有马戏团的电影和表演方面(主题)，所以我给它带来的戏剧性与考尔德的情绪和他自己的精神是一致的。”

The novel display was inspired by archival images of Calder installing his sculptures in darkness and photographing them using directed light. The images caught the eye of the gallery's founder, Adam Lindemann, who decided to reorientate Calder's familiar aesthetic

'I wanted to somehow evoke Calder as I see him,' says Lindemann. 'I wanted to get in touch with the emotional way that I see these pieces move and stand still'

In the darkened gallery, even stationary works like 'Monsieur Loyal (Ringmaster)', 1967, pictured here, and 'Red Curlicue', 1973 have a larger-than-life presence. Both are maquettes, which reveal a little about how Calder sought to resolve scale issues when he designed his monumental stabiles

'Red Curlicue' [maquette], 1973

'Little Black Flower', 1944. This privately held piece has not been exhibited since the 1940s

The works featured range in date from 1929 to 1974, with this piece called 'Untitled', from 1939

Backed by an instrumental soundtrack, 'Calder Shadows' embodies the qualities of abstraction and experimentation that the artist became known for

'Ex-Octopus', 1936, is graphically magnified in size on the wall

The shadow of 'Morning Cobweb' [intermediate maquette], 1967, becomes even more menacing with project

'Untitled', 1929, is constructed of thin metal wires that are transformed into an animated line drawing, which oscillates and turns with the slightest movement of air, highlighting the kinetic aspect of Calder's work

keywords:Alexander Calder, shadows, exhibition, Venus over Manhattan

关键词：亚历山大·考尔德，阴影，展览，曼哈顿上空的金星