Elizabeth Jaeger 伊丽莎白·耶格
Bird 鸟, 2023
ceramic, bronze 陶瓷，青铜
8 x 16 x 7 cm
3 x 6 1/2 x 3 in
3 x 6 1/2 x 3 in
Elizabeth Jaeger’s 'Birds' (2024) hang in different ways throughout the space, further enhancing the individuality and presence of each piece. The work explores the intersection of the human and animal...
Elizabeth Jaeger’s "Birds" (2024) hang in different ways throughout the space, further enhancing the individuality and presence of each piece. The work explores the intersection of the human and animal worlds. In this new iteration of the work, the birds—sculpted in ceramic and bronze—are placed strategically throughout the exhibition space of Capsule at Hilltop Plaza in Hong Kong, where they act as silent sentinels, overseeing the proceedings. Positioned above eye level, the birds resemble cameras, their watchful gaze creating a sense of both presence and surveillance.
Just as the beetles are scattered throughout the gallery, these birds act as intermediaries, leading visitors through the space and drawing attention to the connection between the artworks. By occupying these overhead, unexpected positions, the birds subtly influence the viewer’s experience, encouraging them to reflect on the dynamic between the human, the animal, and the mechanized world around them.
Elizabeth Jaeger (1988, San Francisco) lives and works in New York. Jaeger’s dissonant yet poetic sculptures inhabit the space in between ontological categories –– her subtle visual inflections resist definition and embrace the rich mystery and murkiness of our shared reality. Recent solo exhibitions include: Capsule Shanghai, Shanghai; Mennour, Paris and Klemm’s, Berlin. Her work has been included in group shows at Whitney Museum, New York; Museum Sprengel, Hannover; MoMA Ps1, New York; Museum Morsbroich, Leverkusen; Aspen Art Museum, Aspen; Callie’s, Berlin; White Space, Beijing; Lisson Gallery, New York; Sculpture Center, New York; Capsule Venice, Venice; Silke Lindner, New York; Winter Street Gallery, Martha’s Vineyard; and Clima, Milan.
伊丽莎白·耶格尔（Elizabeth Jaeger）的《鸟》（2024）以不同的方式悬挂于《充实胶囊》的展览的空间中，进一步突显了每件作品的独特性和存在感。这件作品探讨了人类与动物世界的交汇点。在这次新版本中，这些鸟——以陶瓷和青铜雕塑呈现——被巧妙地安置在《充实胶囊》展览空间内，宛如无声的哨兵，静静地注视着展览的进程。它们被安置在目光所及以上，呈现出像摄像机般的形态。他们警觉的目光既带来存在感，又引发一种监视的感觉。
正如甲虫分布在画廊中的方式，这些鸟亦充当中间人，引导参观者穿越空间，也强化了各艺术作品之间的联系。通过占据视觉高位，鸟儿微妙地影响了观众的体验，促使他们反思人类、动物与周围机械化世界之间的动态关系。
伊丽莎白·耶格（1988年生于旧金山）现居纽约。耶格诗意而不和谐的雕塑作品无法被任何单一的存在类别所定义，其视觉上微妙的变换折射了现实本身的神秘混沌。她近期曾在胶囊上海（中国上海）、Mennour（法国巴黎）和Klemm’s（德国柏林）举办个展。她的作品曾在惠特尼美术馆（美国纽约）、Sprengel 博物馆（德国汉诺威）、MoMA PS1（美国纽约）、摩斯布洛赫美术馆（德国勒沃库森）、阿斯彭艺术博物馆（美国阿斯彭）、Callie’s（德国柏林）、空白空间（中国北京）、里森画廊（美国纽约）、纽约雕塑中心（美国纽约）、胶囊威尼斯（意大利威尼斯）、Silke Lindner（美国纽约）、Winter Street Gallery（美国马撒葡萄园岛）和Clima（意大利米兰）等机构和画廊的群展中展出。
Just as the beetles are scattered throughout the gallery, these birds act as intermediaries, leading visitors through the space and drawing attention to the connection between the artworks. By occupying these overhead, unexpected positions, the birds subtly influence the viewer’s experience, encouraging them to reflect on the dynamic between the human, the animal, and the mechanized world around them.
Elizabeth Jaeger (1988, San Francisco) lives and works in New York. Jaeger’s dissonant yet poetic sculptures inhabit the space in between ontological categories –– her subtle visual inflections resist definition and embrace the rich mystery and murkiness of our shared reality. Recent solo exhibitions include: Capsule Shanghai, Shanghai; Mennour, Paris and Klemm’s, Berlin. Her work has been included in group shows at Whitney Museum, New York; Museum Sprengel, Hannover; MoMA Ps1, New York; Museum Morsbroich, Leverkusen; Aspen Art Museum, Aspen; Callie’s, Berlin; White Space, Beijing; Lisson Gallery, New York; Sculpture Center, New York; Capsule Venice, Venice; Silke Lindner, New York; Winter Street Gallery, Martha’s Vineyard; and Clima, Milan.
伊丽莎白·耶格尔（Elizabeth Jaeger）的《鸟》（2024）以不同的方式悬挂于《充实胶囊》的展览的空间中，进一步突显了每件作品的独特性和存在感。这件作品探讨了人类与动物世界的交汇点。在这次新版本中，这些鸟——以陶瓷和青铜雕塑呈现——被巧妙地安置在《充实胶囊》展览空间内，宛如无声的哨兵，静静地注视着展览的进程。它们被安置在目光所及以上，呈现出像摄像机般的形态。他们警觉的目光既带来存在感，又引发一种监视的感觉。
正如甲虫分布在画廊中的方式，这些鸟亦充当中间人，引导参观者穿越空间，也强化了各艺术作品之间的联系。通过占据视觉高位，鸟儿微妙地影响了观众的体验，促使他们反思人类、动物与周围机械化世界之间的动态关系。
伊丽莎白·耶格（1988年生于旧金山）现居纽约。耶格诗意而不和谐的雕塑作品无法被任何单一的存在类别所定义，其视觉上微妙的变换折射了现实本身的神秘混沌。她近期曾在胶囊上海（中国上海）、Mennour（法国巴黎）和Klemm’s（德国柏林）举办个展。她的作品曾在惠特尼美术馆（美国纽约）、Sprengel 博物馆（德国汉诺威）、MoMA PS1（美国纽约）、摩斯布洛赫美术馆（德国勒沃库森）、阿斯彭艺术博物馆（美国阿斯彭）、Callie’s（德国柏林）、空白空间（中国北京）、里森画廊（美国纽约）、纽约雕塑中心（美国纽约）、胶囊威尼斯（意大利威尼斯）、Silke Lindner（美国纽约）、Winter Street Gallery（美国马撒葡萄园岛）和Clima（意大利米兰）等机构和画廊的群展中展出。