英国文化协会当代艺术珍藏展部份参展艺术家介绍——吉尔伯特和乔治（Gilbert & George）

　　吉尔伯特和乔治(Gilbert & George) (1984年获“透纳奖”提名，1986年获得“透纳奖”)

　　生于1943，生于1942

　　英国雕塑家。吉尔伯特·普勒施(1943年9月17日，生于意大利圣马蒂诺)和乔治·帕斯莫尔(1942年1月8日生于德文郡普利茅斯)相识于1967年，当时他们都在伦敦的圣马丁艺术学院学习。到1969年，他们开始共同反对当时盛行于圣马丁学院的雕塑方法，因为他们认为这样的方法是精英化的，很难与艺术界之外沟通。他们的策略是把自己做成雕塑，为艺术牺牲自己的个人身份，激发创造性的思维。

　　虽然他们的作品包括了各种媒介，但是吉尔伯特和乔治仍然把自己所有的作品都称作雕塑。1970至1974年间，他们也创作了木炭画(被称作“纸上雕塑的木炭画”)和油画，突出表现了他们“活体雕塑”的身份。

　　1971年，吉尔伯特和乔治创作了他们的首张“照片作”，此后成为了他们主要的表现形式。他们渐渐将创作主题的重点从自己的生活体验中转移开，而专注于在街上见到的都市现实生活和种种影响生活的结构与感情，例如宗教、阶级、皇室、性、希望、国籍、死亡、身份、政治和恐惧等。20世纪90年代初，他们通过在莫斯科(1990)、北京和上海(1993)的一系列展览，使人们重新关注他们“为人生而艺术”和“全民艺术”的思想。这些展览突出表现了他们的信念：艺术仍然可以打破隔膜。

　　Gilbert & George (nominated for Turner Prize in 1984 / won in 1986)

　　born 1943, born 1942

　　They are British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.

　　Although working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.

　　In 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.