{"id":38483,"date":"2022-04-01T07:50:23","date_gmt":"2022-03-31T22:50:23","guid":{"rendered":"https:\/\/clumsy.site\/en\/?p=38483"},"modified":"2022-10-28T09:58:08","modified_gmt":"2022-10-28T00:58:08","slug":"gordon-matta-clark","status":"publish","type":"post","link":"https:\/\/clumsy.site\/en\/blog-gordon-matta-clark\/","title":{"rendered":"Gordon Matta-Clark"},"content":{"rendered":"\n\n\tAnarchitecture: Gordon Matta-Clark
\n\uc544\ub098\ud0a4\ud14d\ucc98: \uace0\ub4e0 \ub9c8\ud0c0-\ud074\ub77d\n\t

Edited by Clumsy \ud074\ub7fc\uc9c0<\/p>\n\t

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Gordon Matta-Clark, Day’s End (Pier 52), 1975<\/center><\/figcaption><\/figure>\n

\nDay’s End<\/em>\n

Never was Matta-Clark’s genius more dramatically demonstrated than in\u00a0Day’s End (1975)<\/strong><\/em>, his unsanctioned appropriation of Manhattan’s abandoned Pier 52 on the Hudson River, which he stealthily turned into what he called a “sun-and-water temple.” This he accomplished by burn-cutting through the corrugated metal walls of the vast, disused maritime cargo terminal to create a series of painstakingly plotted, curved openings through which sunlight would stream to form veritable sculptures that had a cosmic aura that, doubtless, would have impressed the druids of Stonehenge. -Martin Filler<\/p>\n

\ub0ae\uc758 \ub05d<\/p>\n

 <\/p>\n

\uace0\ub4e0 \ub9c8\ud0c0-\ud074\ub77d\uc758 \ucc9c\uc7ac\uc131\uc774 \uc774 \uc815\ub3c4\ub85c \ub4dc\ub77c\ub9c8\ud2f1\ud558\uac8c \ub4dc\ub7ec\ub09c \uc801\uc740 \uc5c6\uc5c8\ub2e4.\u00a0\ub0ae\uc758 \ub05d(1975)\uc774 \uadf8 \uc791\ud488\uc774\ub2e4. \ud5c8\ub4dc\uc2a8 \ub9ac\ubc84 \uc704 \ud3d0\uac74\ubb3c \ud53c\uc5b4 52\uc5d0 \ubab0\ub798 \uc228\uc5b4\ub4e4\uc5b4\uac00 \uadf8\uc758 \ub73b\ub300\ub85c \uc791\uc5c5\ud558\uc5ec, \uadf8\uc758 \ud45c\ud604\ub300\ub85c “\ud0dc\uc591\uacfc \ubb3c\uc758 \uc131\uc804”\uc73c\ub85c \ubc14\uafb8\uc5b4 \ub193\uc558\ub2e4.\u00a0 \ubc84\ub824\uc9c4 \ud574\uc591 \ud654\ubb3c \ud130\ubbf8\ub110\uc758 \uac70\ub300\ud55c \uace8\uc9c4 \ucca0\ud310 \ubcbd\uc744 \uace1\uc120\uc73c\ub85c \ucef7\ud305\ud558\uc5ec, \ud587\ube5b\uc774 \uadf8 \uc548\uc73c\ub85c \uc3df\uc544\uc838 \ub4e4\uc5b4\uc654\uace0, \uc774\ub294 \ub9c8\uce58 \uac70\ub300\ud55c \uc544\uc6b0\ub77c\ub97c \uac16\ub294 \uc870\uac01\ucc98\ub7fc, \uac70\uc758 \uc2a4\ud1a4\ud5e8\uc9c0 \uac19\uc740 \ub290\ub08c\uc744 \uc8fc\uc5c8\ub2e4. -\ub9c8\ud2f4 \ud544\ub7ec<\/p>\n

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Gordon Matta-Clark, Day’s End (Pier 52), 1975<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark, Day’s End (Pier 52), 1975<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark in Days End, 1975<\/center><\/figcaption><\/figure>\n
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“Work with abandoned structures began with my concern for the life of the city…The availability of empty and neglected structures was a prime textual reminder of the ongoing fallacy of renewal through modernization.”\u00a0–\u00a0Gordon Matta-Clark (1975)<\/p>\n

“\ud3d0\uac74\ubb3c\uc5d0\uc11c\uc758 \uc791\uc5c5\uc740 \uc560\ucd08\uc5d0 \ub3c4\uc2dc\uc758 \uc0dd\uc560\uc5d0 \ub300\ud55c \ub098\uc758 \uad00\uc2ec\uacfc \uac71\uc815\uc5d0\uc11c \uc2dc\uc791\ub418\uc5c8\ub2e4… \ub0b4\uac00 \uc791\uc5c5\ud560 \uc218 \uc788\ub294 \ube44\uace0 \ubc84\ub824\uc9c4 \uac74\ubb3c\uc774 \uc788\ub2e4\ub294 \uac83 \uc790\uccb4\uac00 \ud604\ub300\ud654\ub97c \ud1b5\ud55c \ub3c4\uc2dc \uac74\ucd95\uc774 \uac16\ub294 \uc9c0\uc18d\uc801\uc778 \uc624\ub958\ub97c \ubcf4\uc5ec\uc8fc\ub294 \uac00\uc7a5 \ud070 \uc99d\uac70\uc774\ub2e4.”
-\uace0\ub4e0 \ub9c8\ud0c0-\ud074\ub77d (1975)<\/p>\n

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Gordon Matta-Clark, Bronx Floors, 1972<\/center><\/figcaption><\/figure>\n
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Bronx Floors<\/em><\/p>\n

In the series Bronx Floors (1972-73)<\/b><\/em>, Matta-Clark surreptitiously entered several empty residential buildings and excised rectangular segments from the ceiling and floor. Like Robert Smithson’s “nonsites,” which Matta-Clark first encountered at Cornell, each of these floor works existed in two parts. While the voids remained uptown-at least until the buildings were inevitably demolished-the segments of sandwiched drywall, wood, and tattered linoleum were removed and exhibited elsewhere as sculptural fragments alongside photographs of the cuts. – Rachel Wetzler, Art in America<\/p>\n

\ube0c\ub871\uc2a4 \ubc14\ub2e5<\/p>\n

 <\/p>\n

\ube0c\ub871\uc2a4 \ubc14\ub2e5(1972-73)\u00a0\uc5f0\uc791\uc5d0\uc11c, \ub9c8\ud0c0 \ud074\ub77d\uc740 \ubab0\ub798 \ubc84\ub824\uc9c4 \uc8fc\uac70 \uacf5\uac04\uc5d0 \ub4e4\uc5b4\uac00 \ucc9c\uc7a5\uacfc \ubc14\ub2e5\uc744 \ub124\ubaa8\ub098\uac8c \uc798\ub77c\ub0c8\ub2e4. \ub9c8\ud0c0 \ud074\ub77d\uc774 \ucf54\ub12c \ub300\ud559\uc5d0 \ub2e4\ub2d0 \ub54c \ucc98\uc74c \ubcf4\uc558\ub358 \ub85c\ubc84\ud2b8 \uc2a4\ubbf8\uc2a4\uc2a8\uc758 “\ub17c\uc0ac\uc774\ud2b8”\ucc98\ub7fc, \uac01\uac01\uc758 \ub9c8\ub8e8 \ubc14\ub2e5 \uc791\uc5c5\ub4e4\uc740 \ub450 \uac1c\uc758 \ucc28\uc6d0\uc744 \uac16\uac8c \ub41c\ub2e4. \uad6c\uba4d\ub09c \ubc14\ub2e5\uc740 \uc801\uc5b4\ub3c4 \uadf8\ub300\ub85c \uac74\ubb3c\uc774 \ucca0\uac70\ub420 \ub54c\uae4c\uc9c0 \uadf8\uacf3\uc5d0 \ub0a8\uc544\uc788\uaca0\uc9c0\ub9cc, \uc798\ub77c\ub0b8 \ubd80\ubd84, \uc989 \ub4dc\ub77c\uc774\uc6d4, \ub098\ubb34, \ub2f3\uc740 \ub9ac\ub180\ub968\uc774 \uc0cc\ub4dc\uc704\uce58\ucc98\ub7fc \uacb9\uccd0\uc9c4 \ubc14\ub2e5\uc758 \uc77c\ubd80\ub294 \ub2e4\ub978 \uacf3\uc5d0\uc11c \uc870\uac01\uc801\uc778 \uc18d\uc131\uc744 \uac16\ub294 \ud30c\ud3b8\uc73c\ub85c \uc0ac\uc9c4\uacfc \ud568\uaed8 \uc804\uc2dc\ub418\uc5c8\ub2e4. –\ub808\uc774\uccbc \uc6e8\uce28\ub7ec, \uc544\ud2b8 \uc778 \uc544\uba54\ub9ac\uce74<\/p>\n

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Gordon Matta-Clark, Bronx Floors, 1972<\/center><\/figcaption><\/figure>\n

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Gordon Matta-Clark, Bronx Floors, 1972<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark, Splitting, 1974<\/center><\/figcaption><\/figure>\n
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Splitting<\/b><\/em><\/p>\n

 <\/p>\n

A prime example was Splitting(1974)<\/b><\/em>, in which he took an unoccupied wood-frame house in Englewood, New Jersey, and made a two-story-high vertical incision from the roof to its raised masonry foundation, which caused the rear half to lean back slightly, although the whole did not collapse.<\/p>\n

 <\/p>\n

\uc790\ub974\uae30<\/p>\n

 <\/p>\n

\uace0\ub4e0 \ub9c8\ud0c0 \ud074\ub77d\uc758 \ub300\ud45c\uc791\uc778\u00a0\uc790\ub974\uae30(1974)\ub294 \ub274\uc800\uc9c0 \uc8fc \uc789\uae00\uc6b0\ub4dc\uc5d0 \uc788\ub294 \ubaa9\uc7ac\ub85c \uc9c0\uc740 \ube48 \uc9d1\uc744 \uc18c\uc7ac\ub85c \ud558\uc600\ub2e4. 2\uce35 \uc9d1\uc744 \uc9c0\ubd95\uc5d0\uc11c\ubd80\ud130 \uc218\uc9c1\uc73c\ub85c \uc798\ub77c \uc8fc\ucda7\ub3cc\uae4c\uc9c0 \ub0b4\ub824\uc654\ub294\ub370, \uc9d1\uc758 \ub4a4\ucabd \ubc18\uc774 \uae30\uc6b8\uc5c8\uc9c0\ub9cc \uc804\uccb4\uc801\uc73c\ub85c \ub0b4\ub824 \uc549\uc9c0\ub294 \uc54a\uc558\ub2e4.<\/p>\n

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Gordon Matta-Clark, Splitting, 1974<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark, Splitting, 1974<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark, Splitting, 1974<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark, Conical Intersect, 1975<\/center><\/figcaption><\/figure>\n
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Conical Intersect<\/i><\/p>\n

 <\/p>\n

Matta-Clark’s Conical Intersect<\/i><\/b> of 1974<\/b> in Paris aligned two circles of different sizes that he cut into parallel walls of a building being torn down next to the new Pompidou Center’s construction site. Those paired Kahnian apertures defined a cone-like volume of light that seemed to hover in mid-air while the half-wrecked relic briefly stood. This widely-publicized project resonated among experimental-minded architects, most notably Frank Gehry, who has often cited the huge impact that Matta-Clark’s work had on his own sense of how beautiful a building could be if its structural components were not concealed.<\/p>\n

 <\/p>\n

\uc6d0\ubfd4\uc758 \uad50\ucc28<\/p>\n

 <\/p>\n

\ub9c8\ud0c0-\ud074\ub77d\uc774 1974\ub144 \ud30c\ub9ac\uc5d0\uc11c \ud55c\u00a0\uc6d0\ubfd4\uc758 \uad50\ucc28\u00a0\uc791\uc5c5\uc740 \ud401\ud53c\ub450 \uc13c\ud130\uac00 \uc9c0\uc5b4\uc9c0\uace0 \uc788\ub294 \uac74\uc124 \ud604\uc7a5 \uc606 \ucca0\uac70\ud560 \uac74\ubb3c\uc758 \ub450 \uac1c\uc758 \ub098\ub780\ud55c \ubcbd\uc5d0 \ub2e4\ub978 \ud06c\uae30\uc758 \uc6d0\ud615\uc758 \uad6c\uba4d\uc744 \ub0b8 \uac83\uc774\ub2e4. \ub8e8\uc774\uc2a4 \uce78\uc758 \uc791\uc5c5\uc744 \uc5f0\uc0c1\uc2dc\ud0a4\ub294 \uc774 \ub450 \uac1c\uc758 \ub465\uadfc \uad6c\uba4d\uc740 \uc774 \ubc18\ucbe4 \ud5d0\ub9b0 \uac74\ubb3c\uc774 \uc7a0\uc2dc\ub098\ub9c8 \uc11c\uc788\uc744 \ub3d9\uc548 \uc6d0\ubfd4 \ubaa8\uc591\uc758 \ube5b\uc758 \uc870\uac01\uc774 \uadf8 \uc548\uc5d0\uc11c \uba38\ubb34\ub97c \uc218 \uc788\ub3c4\ub85d \ud574\uc8fc\uc5c8\ub2e4. \uc774 \ud504\ub85c\uc81d\ud2b8\ub294 \uc138\uac04\uc5d0 \ub110\ub9ac \uc54c\ub824\uc84c\uace0, \uc2e4\ud5d8\uc801\uc778 \uac74\ucd95\uac00\ub4e4\uc5d0\uac8c \uc601\ud5a5\uc744 \uc8fc\uc5c8\ub294\ub370, \ud2b9\ud788 \ud504\ub7ad\ud06c \uac8c\ub9ac\ub294 \ub9c8\ud0c0-\ud074\ub77d\uc758 \uc791\uc5c5\uc744 \ud1b5\ud574 \uac74\ubb3c\uc758 \uad6c\uc870\uc801\uc778 \uc694\uc18c\uac00 \ub6ab\ub824 \uc788\uc744 \ub54c \uac74\ubb3c\uc774 \uc5bc\ub9c8\ub098 \uc544\ub984\ub2f5\uac8c \ubcf4\uc774\ub294\uc9c0 \uae68\ub2eb\uac8c \ub418\uc5c8\ub2e4\uace0 \uc885\uc885 \uc5b8\uae09\ud588\ub2e4.<\/p>\n

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Gordon Matta-Clark, Conical Intersect, 1975<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark, Conical Intersect, 1975<\/center><\/figcaption><\/figure>\n
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Gordon Matta-Clark, Conical Intersect, 1975<\/center><\/figcaption><\/figure>\n
\n\t

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Anarchitecture: Gordon Matta-Clark \uc544\ub098\ud0a4\ud14d\ucc98: \uace0\ub4e0 \ub9c8\ud0c0-\ud074\ub77d Edited by Clumsy \ud074\ub7fc\uc9c0 Gordon Matta-Clark, Day’s End (Pier 52), 1975 Day’s End Never was Matta-Clark’s genius more dramatically demonstrated than in\u00a0Day’s End (1975), his unsanctioned appropriation of Manhattan’s abandoned Pier 52 on the Hudson River, which he stealthily turned into what he called a “sun-and-water temple.” This he…<\/p>\n","protected":false},"author":321,"featured_media":36082,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"tpl-no-header-footer.php","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[36,20,47],"class_list":["post-38483","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-almost-palpable","tag-mimipark","tag-season2"],"_links":{"self":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38483","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/users\/321"}],"replies":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/comments?post=38483"}],"version-history":[{"count":2,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38483\/revisions"}],"predecessor-version":[{"id":38936,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38483\/revisions\/38936"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media\/36082"}],"wp:attachment":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media?parent=38483"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/categories?post=38483"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/tags?post=38483"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}