Apple 蘋果
1966/1988
Yoko Ono’s early conceptual work from the 1960s often involves everyday objects and open-ended instructions or scores meant to be completed through the participation of viewers. In the late 1980s, Ono revisited these influential artworks by fabricating them in bronze. In doing so, she transformed the original pieces from lightweight and ephemeral works into heavy and permanent objects. At the time, Ono’s Bronze Age series signified the artist’s rejection of nostalgia for the 1960s and reflected the current era, which she described as the age of commodity and solidity. The use of bronze, a material with a long history in art, also testifies to her experimental practice and her engagement with different media, including painting, drawing, sculpture, performance, music, writing, and film.
The previous iteration of Apple consists of the titular fruit placed on top of a transparent pedestal with a plaque, symbolising the life cycle of birth, death, decay, and rebirth. Similar to Marcel Duchamp’s ready-mades, the elevation of a common food into art, accomplished through its display on a plinth in a gallery, redirects questions from what is shown to how and why it is displayed and the artist’s role and ideas. Unlike the apple alone, which decomposes over time, the bronze version is petrified, changing the earlier work’s natural, temporary state into a handmade, eternal one.