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<p><em><span style=""></span></em><span style="font-size: 24px;"><em>Tomb for Heidegger<br /></em>《海德格之墓》<br /></span><span style="font-size: 24px;">2012</span></p>

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Siah Armajani 西亞．阿馬賈尼

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<p>Born 1939 in&nbsp;Tehran</p><p>1939年生於德黑蘭<br /></p>

<p><span style="font-size: 16px;"><em>Tomb for Heidegger</em><br />2012<br />175.2 x 142.2 x 254 cm<br />Mixed media</span></p><p>Spanning social, cultural, economic, and philosophical considerations, sculptor Siah Armajani was inspired by democratic ideals and values, as well as the civic and the everyday. Since his passing in 2020, the enduring influence of his work with public space continues to be felt, as demonstrated by his inclusion in Encounters with this work, <em>Tomb for Heidegger</em>. As part of a larger series initiated by the artist in 1972, this is less a literal place of rest and more an elegiac monument. It remembers what has been lost, paying homage to philosopher Martin Heidegger, whose 1954 essay ‘Building Dwelling Thinking’ inspired the artist to explore the concept of the bridge. In his writings, Heidegger conceives of the bridge not only as a maker of place, but also a creator of neighbourhood by uniting two divided places. The artist used this ideology throughout his career to embody multiplicity and question notions of difference and distance, understanding the need and difficulty of connecting between cultures, classes, and generations. This work is more intimate in scale than many works seen in the artist’s oeuvre, and speaks to the profound impact of holding space, whether small or vast. Through this work, the artist insinuates that what lies within is never truly known; we can never truly know what is. </p><p>Siah Armajani’s sculptures, drawings and public works exist between the boundaries of art and architecture, informed by democratic and populist ideals. He is recognized as a leading figure in the conceptualization of the role and function of public art, with nearly one hundred projects realized internationally since the 1960s.</p><p><span style="font-size: 16px;"><br /></span></p><p><span style="font-size: 16px;">《海德格之墓》<br />2012<br />175.2 x 142.2 x 254 厘米<br />混合物料<br /></span></p><div><p>雕塑家西亞．阿馬賈尼跨越社會、文化、經濟和哲學思考，受到民主理念與價值觀、公民和日常生活的啟發。自他於2020年去世以來，人們仍然繼續感受到其作品在公共空間的持久影響，就像在「藝聚空間」展出的作品《海德格之墓》一樣。作為藝術家於1972年發起的大型系列之一，這與其說是一個休憩場所，不如說是一座輓歌式紀念碑。它追憶逝去的事物，並向哲學家馬丁．海德格致敬。海德格1954 年的文章《Building Dwelling Thinking》啟發了藝術家探索橋的概念。在他的著作中，海德格認為橋不僅製造了場所，也透過連結兩個分區來創造鄰里。這位藝術家在他的整個職業生涯中都以這種意識形態來體現多樣性及質疑差異和距離的概念，理解聯繫文化、階級和世代之間的必要性和困難。這件作品的規模比藝術家的許多創作都更為細小，並且講述了無論是大是小，私人空間的深遠影響。通過這件作品，藝術家暗示內在是永遠不為人知；使得我們無法真正明瞭。</p><p>西亞．阿馬賈尼的雕塑、素描和公共作品受到民主和民粹主義理想的啟發，遊走於藝術和建築的邊界間。他被認為是將公共藝術的角色和功能概念化的領先人物，自60年代以來，他在國際間實現了近百個計劃。</p></div><div><span style="font-size: 16px;"></span></div>

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Siah Armajani 西亞．阿馬賈尼

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