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Since 1968, Gilbert & George have been residents of Fournier Street, Spitalfields, East London. They live in an 18th-century house that has been restored to its original decor. [10] Their entire body of work has been created in, and focused on, London's East End, which they see as a microcosm.
- Regione Lazio Award (Torino, 1981), Turner Prize (1986), Special International Award (Los Angeles, 1989), South Bank Award (2007), Lorenzo il Magnifico Award (Florence, 2007)
22 de mar. de 2023 · “Just like human hearts!” they exclaim, adding that the friend who first showed them this tree’s flowers has just died. “It’s amazing,” says George, “that on the day we thought, ‘Let’s take a...
Gilbert & George also dyed some of their black-and-white photographs with bold colours, creating an overall effect somewhat like modern stained glass in several of their pictorial assemblages. In Attacked (1991) the artists seem both stoic and vulnerable: they are depicted standing at attention in bright red suits, assaulted by flying symbols.
George, born in Devon, England, in 1942, and Gilbert, born in the Dolomites, Italy, in 1943, met while studying sculpture at St. Martin’s School of Art, London, in 1967. One day while taking photos of each other holding their small-scale sculptures, and then without, the artists realized that they could dispense with them altogether.
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Gilbert and George (o Gilbert & George) es una pareja de artistas británicos compuesta por Gilbert Proesch (San Martín de Tor, Italia, 17 de septiembre de 1943) y George Passmore (Plymouth, Reino Unido, 8 de enero de 1942), que han desarrollado su labor dentro del arte conceptual, la performance y el body art, siendo famosos principalmente por ejercer de «esculturas vivientes».
2 de mar. de 2012 · Death. Tragedy. Imprisonment. They say the shame of a family member going to jail can last for three or four generations.
23 de nov. de 2017 · For all the resonance with the obliteration of the art-life divide in the period in which they emerged, Gilbert & George were certainly not suggestive of Barthes’s Death of the Author. In their case, the authors’ bodies and lives were the artwork, and 50 years later their art and unwaveringly impenetrable yet poignant double act remain inextricably linked.
