点评:Founded in 1880, the current edifice that houses the National Gallery of Canada opened in 1988. It was designed by Moshe Safdie as a contemporary and postmodern take on the architecture of Canada’s Parliament buildings, which it strategically faces across the Rideau Canal. I think this is quite apt because any art gallery that calls itself a “national” one should look and feel the part. Thankfully, our National Gallery of Canada does just that. It is grand in scale, but – and almost contradictorily – understated in its presentation of the artworks, modern and classical, inside. True to form, the National Gallery gives nearly equal weight to traditional heavyweights – the Group of Seven and Emily Carr, for example – and emerging voices, including from our diverse Indigenous and multicultural communities. It’s a beautiful thing and one could easily spend hours ambling about this space and learning about this place.
The National Gallery of Canada represented the second major stop during our all too brief visit to Ottawa. All told, we spent about three hours here and could’ve easily spent longer, but time was of the essence. While I enjoyed looking at the works of Carr and Group of Seven, the Indigenous artworks – and especially those by the Inuit – really captured my attention. The amount of detail carved into bone and tusk was nothing short of amazing. I also enjoyed a rather large installation called “Non Orientable,” which used scrap materials to comment upon capitalism and commodity. In some ways it reminded me of works by Douglas Coupland (I know this was not his).
In any event, when it’s all said and done, the National Gallery of Canada succeeds in one of its primary goals; that is to say, it does an exceptional job of walking us through the nation’s history and its ever-expanding cultural development. In short, the gallery is a physical manifestation of our beautiful mosaic.
Oh! And while you’re outside the gallery, be sure to spend a few moments admiring Maman – the giant spider (see my earlier review on this site). At a micro level, Maman is a protector of the National Gallery; at a macro level, it comments upon our country as a symbol for shelter and home. Now we’re getting deep . . . ;)
翻译:加拿大国家美术馆现在的建筑建于 1880 年,于 1988 年开放。它由 Moshe Safdie 设计,是对加拿大议会大厦建筑风格的当代和后现代诠释,它战略性地面向里多运河。我认为这是非常恰当的,因为任何自称为“国家”画廊的美术馆都应该看起来和感觉起来。值得庆幸的是,我们的加拿大国家美术馆就是这么做的。它规模宏大,但内部现代和古典艺术品的展示却很低调,这几乎是矛盾的。一如既往,国家美术馆对传统重量级人物(例如七国集团和艾米丽·卡尔)以及新兴声音(包括来自我们多元化的土著和多元文化社区)给予几乎同等的重视。这是一件美丽的事情,人们可以轻松地花几个小时在这个空间漫步并了解这个地方。
加拿大国家美术馆是我们短暂访问渥太华期间的第二个主要站点。总而言之,我们在这里花了大约三个小时,而且很容易花更长的时间,但时间至关重要。虽然我喜欢观看卡尔和七人小组的作品,但土著艺术品——尤其是因纽特人的作品——真正吸引了我的注意力。骨头和象牙上雕刻的细节之多简直令人惊叹。我还喜欢一个相当大的装置,名为“不可定向”,它用废旧材料来评论资本主义和商品。在某些方面,它让我想起了道格拉斯·库普兰的作品(我知道这不是他的)。
无论如何,归根结底,加拿大国家美术馆成功实现了其主要目标之一:也就是说,它在带领我们了解这个国家的历史及其不断扩大的文化发展方面做得非常出色。简而言之,画廊是我们美丽的马赛克的物理表现。
哦!当您在画廊外面时,一定要花一些时间欣赏巨型蜘蛛妈妈(请参阅我之前在此网站上的评论)。从微观层面来看,马曼是国家美术馆的保护者;在宏观层面上,它把我国视为庇护所和家园的象征。现在我们正在深入。 。 。 ;)