Installation view of artist/designer Sebastian Errazuriz's show at Pittsburgh's Carnegie Museum of Art, who is the subject of three major American exhibitions this autumn

智利出生的，纽约的塞巴斯蒂安·埃拉扎乌里兹今年9月有一个缓冲器，这是目前在美国东海岸举行的三个画廊的主题。
9月5日，在匹兹堡的CarnegieMuseumofArt打开了他的第一个单独的博物馆展览，“塞巴斯蒂安·埃拉扎里兹：再看看”，而纽约的沙龙94和克里斯蒂娜·格拉杰莱斯画廊上周庆祝了“功能性雕塑/雕塑家具”的开始。

埃拉苏里兹解释说，这三次展览碰巧都定于2014年秋季举行。

就好像这还不够，这位艺术家被征集来在同一时期进行两次TEX会谈。
他说：“尝试在长时间的物理工作中记忆独白，完成多个雕塑和家具的作品肯定会让它成为我一生中最让人难忘的时光。”

埃拉苏里兹作品的魅力在任何看到它的人看来都是显而易见的。他对日常物品的戏弄促使观众重新考虑他们对设计和艺术的先入为主的观念。为了做到这一点，我使用图标，已经属于公众集体记忆的符号。

在克里斯蒂娜·格拉贾莱斯，埃拉苏里兹创造了一个由六个橱柜组成的小组，把这个平凡的储藏物转变成雕塑。这些迭代包括“卡莱迪望远镜”(Kaleid象管)，这是一面镜子镶板，可以把里面的东西相乘；“豪猪”(Porcupine)，一种覆盖着木制羽毛笔的单位；以及“武士”(Samurai)，它被编织成黑色弹力，就像武士的盔甲一样。埃拉苏里兹说，“它们是橱柜这一事实，实际上是一个借口，是我们如何打破这个盒子，并在它之外思考的一个字面上的练习。”

另一方面，在第94号沙龙，作品提到了艺术中不同的动作或时期。“这些作品中的每一件都有艺术品的本质，”埃拉苏里兹说，“但它们都被迫投入了功能，从而否定了它的神圣性。”相反，这些作品提供了一种更为亲密的关系，它邀请我们从不同的角度审视它们的神秘和美丽，这可能与前者一样深刻，但也更加个人化。“

展览的中心是一个书架，它围绕着一个大理石的复制品，它是一个雕塑，它被长期保存在公共场所，远离公众视线。埃拉苏里斯的脚手架般的书架处理是一个事实，即大多数欧洲古物经常被保存在一种状态下，常常被视而不见。埃拉苏里斯的作品是一种不负责任而又聪明的作品，它把幽默和工艺结合起来，形成了强大的效果，使他成为我们乐于看到的一个设计明星。

'The Piano', 2008. Originally conceived for the artist’s studio, this work has been hoisted from the ceiling of the museum’s Hall of Architecture

Errazuriz's playful appropriation of everyday objects encourages viewers to reconsider their preconceived notions of design and art. Pictured is an installation view of 'Sebastian Errazuriz: Look Again' at the Carnegie Museum of Art

From left: 'Explosion' cabinet, 2014; 'Zipper Dress', 2003; 'Piano Shelves', 2001; 'Magistral' cabinet, 2011; and 'Kaleidoscope' cabinet, 2013

'Explosion' cabinet, 2014. The ingenuity of the design emerges as the cabinet expands to the brink of stability via sliding dovetails

'DIE' and 'MIRACLE' flyswatters (prototypes), 2011; 'Emergency Crucifix', 2004; 'Drowning in Debt' pepper shaker, 2011; 'Lonely Soldier' snow globe, 2010; and 'La Moneda' fire screen (prototype), 2009, all on show at the Carnegie Museum of Art

At Cristina Grajales, Errazuriz has created a group of six cabinets that transform the mundane storage object into sculpture. Courtesy of the artist, Cristina Grajales Gallery and Salon 94

The iterations include 'Kaleidescope', a mirror-panelled piece that multiplies the contents. Courtesy of the artist, Cristina Grajales Gallery and Salon 94

'Porcupine', meanwhile, is a unit covered in wooden quills...

... and 'Samurai' is enclosed in woven black elastic, much like a samurai's armour. Courtesy of the artist, Cristina Grajales Gallery and Salon 94

At Salon 94, on the other hand, the work references different movements or periods in art. Courtesy of the artist, Cristina Grajales Gallery and Salon 94

The centrepiece of the Salon 94 show is a bookcase built around a marble replica of the Venus d'Arles, a sculpture that has long been stored within the Lourve and away from public view. Courtesy of the artist, Cristina Grajales Gallery and Salon 94

Errazuriz's scaffold-like treatment of the shelves is a jibe at the fact that most of Europe's antiquities are often seen in a state of preservation, often obstructed from view as a whole. Courtesy of the artist, Cristina Grajales Gallery and Salon 94

'Each of these pieces has the essence of an artwork,' says Errazuriz, 'but has been forced into functionality, thus negating its sanctity'. Pictured is 'Chicken Lamp', 2014. Courtesy of the artist, Cristina Grajales Gallery and Salon 94

keywords:contemporary design, contemporary art, chilean, new york, pittsburgh

关键词：当代设计，当代艺术，智利，纽约，匹兹堡