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展览
“Iris van Herpen: Sculpting the Senses”展示了当代最超前的时尚设计师的作品。Iris van Herpen 是将科技融入时尚设计的先锋,她摆脱时尚界的陈规,将传统与革新相融合。
从微观到宏观,该展览探究躯体在空间中的存在意义,以及我们在瞬息万变的世界中的身份和可能迈向的未来。此次艺术回顾展颂扬 van Herpen 超前的跨学科理念,包含九个主题,将艺术、设计、可持续发展和科学融入时尚中。
超过 140 件 Iris van Herpen 设计的造型和配饰,与一众当代艺术作品和自然历史标本一同展出。此次展览融合了新加坡特色,展出本地和附近区域的特色展品,包括来自李光前自然历史博物馆的手工制品,以及由艺术科学博物馆挑选的其他现代艺术作品。
参与展出的艺术家、建筑师和设计师包括 David Spriggs、Philip Beesley、目、Juliette Clovis、Jacques Rougerie、Tan Shao Qi、Rogan Brown、Ren Ri、Courtney Mattison、Heishiro Ishino、Tim Walker、Enrico Ferrarini、Ferruccio Laviani、Yayoi Kusama、Chun Kwang Young、Joseph Walsh、Janaina Mello Landini、Lanny Bergner、Kate MccGwire、Ruben Pang、Damien Jalet、Kohei Nawa、Casey Curran、Ivana Bašić 和 Kim Keever。
“Iris van Herpen: Sculpting the Senses”展览由巴黎装饰艺术博物馆 (Musée des Arts Décoratifs) 和新加坡艺术科学博物馆合力呈现,内容基于前者策划的初版展览。
图片来源:Iris van Herpen (设计师), Carla van de Puttelaar (摄影师), Synergia Series 2021 / 摄影: Carla van de Puttelaar / © Carla van de Puttelaar
In its liquid, frozen or gaseous states, water often features in Iris van Herpen’s work, even forming the principal focus of her 2010 Crystallisation collection. A major component of the human body, the notion of water emerges from her dresses to transcend the invisible flux that constitutes our very essence. On every level—from drops of rain to a tsunami, as a poetic allegory or gateway to the shadow world, representing both harmony and chaos, in the form of foam, crystallised liquid or waves, water inspires the designer’s extraordinary creativity. Bubbles suspended in space, transparent fields of mist, turquoise or deep blue waves, Iris van Herpen’s aquatic pieces reveal the mystery and metaphorical power of
water, manifested across a multitude of fabrics, materials and techniques from blown glass to thermoformed plexiglass, from laser cutting to suminagashi—a Japanese technique of marbled ink drawings.
Under the surface of the oceans is a world invisible to the naked eye, that is nonetheless fundamental to life on Earth. Iris van Herpen’s
2020 collection, Sensory Seas, draws inspiration from this ecosystem, its abundant and diverse plankton species and, on a broader scale, from sea animals, that shape the designs and textures of her dresses. Single-cell organisms and the Hydrozoa family such as jellyfish are the designer’s most constant form of inspiration. They are her fundamental reference point as she seeks to bring them to light in her works. Just as the 19th-century master glassmakers Leopold and Rudolf Blaschka revealed this elusive world with their astonishing pedagogical models, Iris van Herpen takes up the same subjects and transposes them, with craftsmanship and new technologies, into the field of haute couture.
Iris van Herpen’s fascination with shapes found in nature has led her to reflect on morphogenesis, the biological process by which organisms develop their shape and form, and the creative forces at the origins of life. That which is microscopically small is reflective of the beauty of the invisible worlds and has directed van Herpen towards a new aesthetic language and materials that transcend the field of fashion. With this perspective, she maintains a particular interest in the work of 19th century biologist Ernst Haeckel, whose illustrations shed light on many microscopic beings.
Mixing art and science, van Herpen explores both terrestrial and marine worlds to unearth new structures and textures. Her preoccupation with sustainability and the environment has led her to re-examine how we view the world, notably in her Earthrise collection, created with the artist Rogan Brown, in which she chose to elevate recycled plastic as material.
Cabinets of curiosities and anatomical museums are fertile grounds of inspiration for Iris van Herpen. Like the artists Michelangelo, Jean-Antoine Houdon, and many others who studied anatomical representations of the human being, van Herpen analyses the skeleton, muscles, connective tissues and systems of the body to create forms that can be worn like a second skin. Her dresses are hybrid structures, projections of our inner constitutions, that create the fiction of a new body.
Van Herpen breathes new life into the idea of the silhouette by exploring the frontier between the living and inert. Her clothing is an extension of the body and, at the same time, a mutation of complex anatomical forms. She sheds light on that which is barely perceptible through the transparency of skin, that which is only able to be revealed with technology. Her designs could be likened to an artistic Magnetic Resonance Imaging (MRI) scan, a creative X-ray of the structure of living organisms.
Iris van Herpen was born in the village of Wamel in The Netherlands, situated near Den Bosch, which was the hometown of 16th century Flemish painter Hieronymus Bosch. Van Herpen grew up examining Bosch’s fantastical worlds that mix alchemy, mysticism and allegory. From her study of Bosch, she retains a fascination with ideas of hybridisation, an incessant questioning of human and animal nature and an interest in fusing both.
In parallel, van Herpen explores the emotion of fear Bosch’s imaginary worlds invoke. This is done through her discoveries made in the collection of the Embassy of the Free Mind—an organisation in Amsterdam dedicated to freedom of thought. Van Herpen also revisited the various cabinets of curiosities she encountered in her studies of Art History.
Symbolist and Surrealist literature has also led her to use metaphors as a mode of expression, elevating her work beyond conventional dressing classifications. From Ovid’s Metamorphoses poem to Japanese mythology, van Herpen loves reinterpreting the mutations and uncanny qualities of our world and others.
In her exploration of the cosmos, Iris van Herpen displays her talent for synthesis, combining the latest scientific discoveries with the history of art and science, blending the ancient maps of 17th century cartographer Andreas Cellarius with images from the James Webb telescope. The cosmos and its mysteries pique van Herpen’s imagination and trigger her creativity.
Used as a metaphor for van Herpen’s holistic and multidisciplinary approach, the cosmos represents a space in which one can explore and create without limitations, it is a symbol of absolute freedom. Colours float and come alive, offering new horizons for a body that can exist in different dimensions and planes. For the designer, to understand the cosmos is to overturn the order of time and space and achieve elevation. The world becomes an all-encompassing entity, greater than the confines of planet Earth. It no longer develops from bottom up or top down, but in all of its dimensions simultaneously, as a multiverse, with no borders except those of the mind and the imagination, the soul and its cosmic journey.
英文导览:部分周二、下午 4:00
中文普通话导览:部分周六及周日、下午 1:00
3 层画廊
凭票入场
探索时尚设计师 Iris van Herpen 如何将自然界的元素转化为令人叹为观止的高定时装。她的设计受到地下有机网络精细纹理、水流运动和空气流动之美的启发,融合了有机形式与尖端科技。
在教育专家的指导下,通过 3D 打印和手工制作活动,探索她创新技术背后的故事,以及她如何重新构想时尚与环境之间的关系。
4 月至 5 月
多个地点
免费,部分项目需门票
踏上探索人类神经科学的旅程,了解我们大脑独特的运作方式,通过富含时尚和包容性的设计重新想象我们的身体,并通过展览、讲座、快闪对话、工作坊等活动,探索自然界的多样之美!
3 月 15 日(周六),下午 2:00 至 4:00
艺术科学影院,第 4 层
门票价格:新币 10 元
荷兰前卫时尚设计师 Iris van Herpen 出席,与观众讨论多维度创作手法,以及启发其创作的“变换”理念。
无论是从错综复杂的自然环境,现存建筑的构建哲学,还是身体的优美结构,Van Herpen 的深刻远见围绕着人类躯体的本质变化。与当今一大前卫设计师面对面,解构 Van Herpen 如何从自然和对当今世界的遥想中汲取新创意和灵感,创作出不断颠覆想象的众多作品。
此活动是“Mind and Body: The Art and Science of Being Human”展览的特别环节,该展览探索作为人类而存在、思考和感受的意义。