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메트로폴리탄 미술관 정문이 정면으로 보입니다.
메트로폴리탄 미술관 정문이 정면으로 보입니다.
메트로폴리탄 미술관메트로폴리탄 미술관
더 제네시스 파사드 커미션더 제네시스 파사드 커미션
메트로폴리탄 미술관의 정면 파사드에 매해 세계적 작가를 초청하여 대형 신작을 선보이는 커미션 시리즈메트로폴리탄 미술관의 정면 파사드에 매해 세계적 작가를 초청하여 대형 신작을 선보이는 커미션 시리즈
2025년 9월 12일 – 2026년 6월 9일
더 제네시스 파사드 커미션: 제프리 깁슨,
The Animal that therefore I am더 제네시스 파사드 커미션: 제프리 깁슨,
The Animal that therefore I am
제프리 깁슨은 미국, 독일, 한국 등지에서 성장한 본인만의 다채로운 문화적 경험과 정체성을 바탕으로 기하학적 패턴, 텍스트 및 강렬한 색채가 결합된 독창적인 시각 언어를 구사하며, 생명체 간의 연결성과 공동의 정체성에 대한 탐구를 이어오고 있습니다.
《더 제네시스 파사드 커미션: 제프리 깁슨, The Animal That Therefore I Am》 전시를 통해 작가는 사슴, 코요테, 다람쥐 그리고 매의 형상을 가진 약 3미터 높이의 대형 청동 조각을 처음 선보이며, 이들 역시 인간과 동등한 생명체로서 공존한다는 점을 환기시키고 관람객들에게 그 의미를 함께 성찰해 볼 기회를 제공합니다.
The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am
I think about the kind of comic drama of our day-to-day lives, especially here in New York City.
So I always imagine animals talking about us, like gossiping, “Did you see this human do this today?”
And like, “They ate that.”
And then “We saw someone get in an argument,” and “This one said that.”
I enjoy kind of flipping the script and imagining them talking about us.
Jeffrey Gibson, Artist
And to be quite honest, we're pretty comical, you know?
When I was invited to make new work for The Genesis Facade Commission, that was the beginning of thinking about this idea of creating figurative forms in states of transformation.
My father is Choctaw, my mother is Cherokee.
Like a Hammer 2016
Transformation happens within Native American cultures, in the context of ceremony.
Growing up in a lot of the dances, you personify different animals, and in turn, you're paying homage to those animals, you’re showing respect to them.
The animals are empowered as teachers.
So the title of the four sculptures all together is The Animal That Therefore I Am.
I chose the four animals which include a coyote, a squirrel, a hawk, and a deer.
I wanted to choose animals that exist here in New York.
Bizarrely, all of these animals also historically exist in Central Park, which surround The Met.
I wanted to make the maquettes by hand because sculpturely to me, you need movement.
If you look at the base of them, they all start with armatures made from driftwood that's been pulled out of the Hudson River here.
But as you move up, it transforms into hide and then into fur and then into blankets and then into adornment, and then into a face.
It's not a hundred percent any one of those things.
I want there to feel like there's some sense of transformation within the figure.
Jane Panetta
Aaron I. Fleischman Curator
Department of Modern and Contemporary Art, The Met
I think it felt really exciting to have him doing the Facade Commission, because it was a different kind of project than he'd ever done before.
This had to be four sculptures that could live outside for a long period of time in these niches.
He also had never made large scale bronze sculptures.
It became really exciting to think about how he would translate his longstanding interest in materiality into bronze, which is thought to be more static.
I was very nervous about making bronze sculptures.
The hardest thing was to figure out how to make every part feel like it had a different texture if you touched it.
I want people to want to touch it.
What's incredible is we were able to get the string, we were able to create every bead to have slight differences between them.
I didn't want paint because it really does feel like a skin on it, but patina feels like it's rubbed inherently into the surface.
David Breslin
Leonard A. Lauder Curator in Charge
Department of Modern and Contemporary Art, The Met
I really admire any artist who takes on this project, because I think there’s a lot of responsibility that comes with this. There’s not only the millions of people who use those doors as an entry to The Met.
It's the millions who pass this building all the time.
What Jeffrey does is allow so many different kinds of audiences to see themselves in the work.
I really like to see myself as part of this lineage, in particular within indigenous cultures, of innovation, imagination, imaging.
We didn't break from the lineage.
You still need that actual handmade something if you want to maintain that quality through to the end.
There's a level of optimism in his work.
He wants to imagine what different possibilities for the future can be.
I just don't know how we are going to create a sustainable future without all of us, different kinds of beings, seen as equals on this planet.
I hope other people will understand that our future is very dependent on our ability to intentionally look at things and intentionally take the time to process.
We really need each other.
Organized by The Met.
Presented by Genesis.
So I always imagine animals talking about us, like gossiping, “Did you see this human do this today?”
And like, “They ate that.”
And then “We saw someone get in an argument,” and “This one said that.”
I enjoy kind of flipping the script and imagining them talking about us.
Jeffrey Gibson, Artist
And to be quite honest, we're pretty comical, you know?
When I was invited to make new work for The Genesis Facade Commission, that was the beginning of thinking about this idea of creating figurative forms in states of transformation.
My father is Choctaw, my mother is Cherokee.
Like a Hammer 2016
Transformation happens within Native American cultures, in the context of ceremony.
Growing up in a lot of the dances, you personify different animals, and in turn, you're paying homage to those animals, you’re showing respect to them.
The animals are empowered as teachers.
So the title of the four sculptures all together is The Animal That Therefore I Am.
I chose the four animals which include a coyote, a squirrel, a hawk, and a deer.
I wanted to choose animals that exist here in New York.
Bizarrely, all of these animals also historically exist in Central Park, which surround The Met.
I wanted to make the maquettes by hand because sculpturely to me, you need movement.
If you look at the base of them, they all start with armatures made from driftwood that's been pulled out of the Hudson River here.
But as you move up, it transforms into hide and then into fur and then into blankets and then into adornment, and then into a face.
It's not a hundred percent any one of those things.
I want there to feel like there's some sense of transformation within the figure.
Jane Panetta
Aaron I. Fleischman Curator
Department of Modern and Contemporary Art, The Met
I think it felt really exciting to have him doing the Facade Commission, because it was a different kind of project than he'd ever done before.
This had to be four sculptures that could live outside for a long period of time in these niches.
He also had never made large scale bronze sculptures.
It became really exciting to think about how he would translate his longstanding interest in materiality into bronze, which is thought to be more static.
I was very nervous about making bronze sculptures.
The hardest thing was to figure out how to make every part feel like it had a different texture if you touched it.
I want people to want to touch it.
What's incredible is we were able to get the string, we were able to create every bead to have slight differences between them.
I didn't want paint because it really does feel like a skin on it, but patina feels like it's rubbed inherently into the surface.
David Breslin
Leonard A. Lauder Curator in Charge
Department of Modern and Contemporary Art, The Met
I really admire any artist who takes on this project, because I think there’s a lot of responsibility that comes with this. There’s not only the millions of people who use those doors as an entry to The Met.
It's the millions who pass this building all the time.
What Jeffrey does is allow so many different kinds of audiences to see themselves in the work.
I really like to see myself as part of this lineage, in particular within indigenous cultures, of innovation, imagination, imaging.
We didn't break from the lineage.
You still need that actual handmade something if you want to maintain that quality through to the end.
There's a level of optimism in his work.
He wants to imagine what different possibilities for the future can be.
I just don't know how we are going to create a sustainable future without all of us, different kinds of beings, seen as equals on this planet.
I hope other people will understand that our future is very dependent on our ability to intentionally look at things and intentionally take the time to process.
We really need each other.
Organized by The Met.
Presented by Genesis.
2024년 9월 12일 – 2025년 6월 10일
더 제네시스 파사드 커미션: 이불,
Long Tail Halo더 제네시스 파사드 커미션: 이불,
Long Tail Halo
이불 작가는 고도의 수작업이 필요한 재료들과 특유의 노동 집약적 작업 방식을 활용하며, 인류의 유토피아를 향한 열망과 기술 발전의 명암을 다루는 작업을 이어왔습니다.
《더 제네시스 파사드 커미션: 이불, Long Tail Halo》는 진보와 완전성에 대한 인간의 영원한 열망을 표현하고, 그 안에 내재된 시행착오와 불완전성의 이면을 암시합니다. 전시에서 선보여진 신작 4점은 끊임없이 재구성되고 변형되어 온 역사의 거대한 흐름에 대해 이야기합니다.
The Genesis Facade Commission: Lee Bul, Long Tail Halo
Max Hollein
Marina Kellen French Director and Chief Executive Officer, The Met
If you ask artists, "What is your favorite museum?," many of them will tell you the Met.
They see this place as a source of inspiration, as a place of reflection.
The Face of the Met
I came here six years ago and noticed the Facade consists of four niches that have been empty for over 100 years.
I saw this as a great opportunity to create a space for artists to intervene.
Lesley Ma
Ming Chu Hsu and Daniel Xu Curator
Department of Modern and Contemporary Art, The Met
The Met itself as an assignment is huge.
This is an institution with an enormous history and encyclopedic collection.
So for an artist to put their work in front of all of this is quite a challenge.
It's an opportunity for the leading artists of our time to make bold and strong statements about sculpture.
Challenging history, also challenging the museum as such.
The Genesis Facade Commission
David Breslin
Leonard A. Lauder Curator in Charge
Department of Modern and Contemporary Art, The Met
The Genesis Facade Commission reveals a different side of the Metropolitan Museum.
We didn't want to fill the niches with existing sculptures from the past.
So every time, it will be a completely new work.
Whatever is being done there is projecting towards the future in a direction that we have not been fully able to grasp.
So the Genesis Facade Commission is a really important and integral part of the museum's mission to connect and to expand the ideas of contemporary art.
We love when an artist can imbibe what those artworks hold and make it alive in a new artwork.
By having contemporary art be the thing that leads one in, it shows that these doors are open.
It shows that the past isn't closed.
It's an invitation to think with the past.
The Genesis Facade Commission is one of the most visible commission projects in New York City.
It's the first artwork that you see.
You're basically just being confronted by it, as are the millions of passersby on Fifth Avenue.
Every Genesis Facade Commission needs to surprise.
Stop you in your tracks.
The Visionaries
An artist like Lee Bul is such a visionary because she thinks deeply about time.
And has a deep understanding of the past, the status quo, but shows a way forward in a completely authentic but surprising way.
For the Genesis Facade Commission, we look for voices that help us see something we might not be able to see on our own.
To provide all these different ways of looking and thinking, but not actually providing ways to tell you how to think.
The Genesis Facade Commission lays bare the idea that artists are the way that change happens best.
To help us see ourselves and see ourselves differently.
We want to have shown the most important artists of the 21st century who have allowed us to rethink what art can be.
Presented by Genesis. Organized by The Met
Marina Kellen French Director and Chief Executive Officer, The Met
If you ask artists, "What is your favorite museum?," many of them will tell you the Met.
They see this place as a source of inspiration, as a place of reflection.
The Face of the Met
I came here six years ago and noticed the Facade consists of four niches that have been empty for over 100 years.
I saw this as a great opportunity to create a space for artists to intervene.
Lesley Ma
Ming Chu Hsu and Daniel Xu Curator
Department of Modern and Contemporary Art, The Met
The Met itself as an assignment is huge.
This is an institution with an enormous history and encyclopedic collection.
So for an artist to put their work in front of all of this is quite a challenge.
It's an opportunity for the leading artists of our time to make bold and strong statements about sculpture.
Challenging history, also challenging the museum as such.
The Genesis Facade Commission
David Breslin
Leonard A. Lauder Curator in Charge
Department of Modern and Contemporary Art, The Met
The Genesis Facade Commission reveals a different side of the Metropolitan Museum.
We didn't want to fill the niches with existing sculptures from the past.
So every time, it will be a completely new work.
Whatever is being done there is projecting towards the future in a direction that we have not been fully able to grasp.
So the Genesis Facade Commission is a really important and integral part of the museum's mission to connect and to expand the ideas of contemporary art.
We love when an artist can imbibe what those artworks hold and make it alive in a new artwork.
By having contemporary art be the thing that leads one in, it shows that these doors are open.
It shows that the past isn't closed.
It's an invitation to think with the past.
The Genesis Facade Commission is one of the most visible commission projects in New York City.
It's the first artwork that you see.
You're basically just being confronted by it, as are the millions of passersby on Fifth Avenue.
Every Genesis Facade Commission needs to surprise.
Stop you in your tracks.
The Visionaries
An artist like Lee Bul is such a visionary because she thinks deeply about time.
And has a deep understanding of the past, the status quo, but shows a way forward in a completely authentic but surprising way.
For the Genesis Facade Commission, we look for voices that help us see something we might not be able to see on our own.
To provide all these different ways of looking and thinking, but not actually providing ways to tell you how to think.
The Genesis Facade Commission lays bare the idea that artists are the way that change happens best.
To help us see ourselves and see ourselves differently.
We want to have shown the most important artists of the 21st century who have allowed us to rethink what art can be.
Presented by Genesis. Organized by The Met