It is an interesting fact that in 1964 Beuys projects Ingmar Bergman's Silence verbally into the "context which is directly related to Duchamp" and much later, in 1973, reinterprets it in the form of a multiple. If at that time a parallel was drawn between artistic silence and human silence as lack of communication, understanding, warmth, love, as the agony of art and life, the meanings conveyed by the multiple are further-reaching.
By galvanizing the five film reels, Beuys rendered them unusable; i.e., this way The Silence cannot be prolonged. It is finally contained and brought to an end and at the same time conserved as a memento... Beuys reinterpreted Bergman's film reels as objects capable of storing energy and warmth.' - On the Multiples of Joseph Beuys, Dierk Stemmer, 1975, Joseph Beuys: The Multiples, Jörg Schellmann, 1997
來源
私人收藏 加州Thomas Babeor畫廊
文學
Jörg Schellmann 80 Dieter Schwarz 1973.03
Catalogue Essay
Including: 1. Hustenanfall Gletscher+; 2. Zwerge – Animalisierung; 3. Vergangenheit – Vegetabilisierung; 4. Panzer – Mechanisierung; and 5. Wir sind frei - Geysir+
1973年作 五組由Ingmar Bergman執導的1962年電影《沉默》的35毫米原裝投影捲軸 塗漆 鍍銅鋅浴 存於原裝黑色卡盒 每組:2 x 15 x 15 英吋 (5.1 x 38.1 x 38.1 公分) 款識:標題、1-5(金屬牌匾壓花)35(首組壓花) 尚有50版、10版藝術家試作版,由柏林Edition René Block畫廊及紐約Multiples畫廊共同出版。