藝術家概述｜A Sculptural Language of the Industrial Age
塞撒（César Baldaccini）為二十世紀法國重量級雕塑家。他以焊接、壓縮、集積與發泡等創作語彙，將材料的原始性、工業文明的力量感與雕塑形式的轉化潛能，推升至嶄新境界。
César Baldaccini was one of the major sculptors of twentieth-century France. Through welding, compression, accumulation, and expansion, he pushed the raw force of materials and the visual language of industrial modernity into a new sculptural field.
塞撒 1921 年生於法國馬賽。他的創作跨越單一技法，於不同時期持續拓寬雕塑邊界：由金屬焊接起步，逐步發展出集積、壓縮與發泡等標誌性手法。技術轉換之餘，更徹底翻轉了觀者對雕塑本體的認知。
Born in Marseille in 1921, César did not bind himself to a single method. From welded metal constructions to accumulations, compressions, and polyurethane expansions, each phase of his work reopened the question of what sculpture could be.
他長年沉浸於工廠與機械環境，對現代工業材料蘊含的力量、重量、碰撞與偶發性極為敏銳。其作品保留了金屬與物件的現實感，同時透過壓縮、堆疊、膨脹或焊接，淬鍊出嶄新形體與秩序。
César remained deeply attentive to the poetry of industrial matter—its weight, collision, instability, and force. His works preserve the factual presence of objects, yet through compression, accumulation, expansion, or welding, they become something irreducibly sculptural.
1950 年代，他以金屬焊接雕塑嶄露頭角；其後的壓縮作品，直指現代社會的消費、速度與材料壓力，將其揉入雕塑語言。發泡作品則導入偶然性與自動生成，任由材料自主流動、膨脹進而造形。
César first gained recognition for welded metal sculpture in the 1950s. His later compressions brought the pressures of consumption, speed, and industrial society into sculpture itself. The expansions extended this logic further, allowing the behavior of material to actively shape form.
塞撒的歷史定位源於他重新締結了雕塑與時代的對應關係。其作品跳脫靜態的人為造形，成為材料、技法、文明條件與空間關係交織共振的結語。
César matters not only because his style is unmistakable, but because he redefined the relation between sculpture and its time. The artwork is no longer merely shaped matter; it is the outcome of material, process, technology, and spatial condition acting together.
La Chauve-Souris｜蝙蝠
廢鐵焊接構築出蝙蝠展翼之姿，中央軀幹直立，雙翼向外開張；粗礪的金屬肌理與銳利的線性結構，賦予作品冷峻且強烈的視覺張力。
《蝙蝠》承繼了塞撒 1950 年代早期焊接鐵雕的創作脈絡。1954 年，他於巴黎 Galerie Lucien Durand 舉辦首場個展，發表一系列焊接廢鐵動物雕塑。這批作品多誕生於巴黎近郊 Villetaneuse 的工廠，藝術家將回收鐵件逐一拼接、焊接與累加，跳脫傳統由整體至細部的雕塑成規，任憑材料在加法、碰撞與即興中自然成形。
La Chauve-Souris may be viewed within César’s early welded-iron animal sculptures of the 1950s. In 1954, for his first solo exhibition at Galerie Lucien Durand in Paris, he presented a group of animal works assembled from arc-welded scrap metal. Produced in a factory in Villetaneuse, these sculptures emerged through an additive process in which recovered iron fragments were accumulated, welded, and redirected into form through improvisation.
塞撒擇鐵為媒材，既考量現實條件，亦意在背離古典雕塑傳統。鐵件的重量、色澤與肌理差異，保留了廢棄零件的歲月痕跡，使異質碎片拼湊出渾然天成的有機面貌。《蝙蝠》精準體現此語彙：捨棄寫實描摹，轉由焊接與堆疊捕捉動物的姿態與輪廓，散發幽默且俐落的張力。
In this period, César turned to iron not only for practical reasons, but also as a move away from classical sculptural materials. Iron allowed him to preserve the memory of heterogeneous fragments while producing forms that remain unexpectedly organic. In La Chauve-Souris, the work does not simply describe a bat; it captures the animal’s posture, outline, and a certain subtle humor through tension, assembly, and welded structure.
法國龐畢度中心（Centre Pompidou）珍藏的 1954 年《Chauve-souris》（144 × 215 × 12 公分），即為塞撒早期焊接動物系列的代表作；同脈絡作品涵蓋《Esturgeon》、《Le Diable》與《Tortue》。此系列完美印證他將工業廢料與回收物件鎔鑄為雕塑形式的功力，材料本身即是造形，亦是時代精神的切片。
The Centre Pompidou example of Chauve-souris dates from 1954 and measures 144 × 215 × 12 cm. It belongs to a key group of early welded animal sculptures that also includes Esturgeon, Le Diable, and Tortue, demonstrating how César transformed industrial debris and reclaimed matter into a new sculptural language.
Selected Works｜歷史代表作
以下作品為藝術家創作脈絡之參照，不代表現有庫存。
The following works are shown as historical references and do not indicate current availability.
La Pouce｜大拇指
Anna｜安娜
