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2011年,就有批评家对宋冬的展览“穷人的智慧”进行“贫困的价值抑或价值的贫困”式的诘问,以怀疑其身份和政治立场的游移不定和机会主义。而之后,当宋冬开始进一步将原有的、本土的视觉经验与全球化的审美标准结合(在2013年纽约佩斯画廊展出的“白做山”这个案例中,宋冬开始将作品中的叙事性降低,而突出作品本身的形式感),他的作品又招致“制作过于精良”的批评,言下之意,他的创作不可避免地投入了艺术消费系统的怀抱。
In 2011, some critics questioned Song Dong’s exhibition “The Wisdom of the Poor” for questions such as “the value of poverty or the poverty of value,” in order to doubt the uncertainty and opportunism of his identity and political stance. And then, as Dong Song began to further integrate the original, indigenous visual experience with the aesthetic standards of globalization (in the case of the “White Mountain” exhibited at Pace Gallery, New York in 2013, The narrative is reduced, and the sense of formality of the work itself is emphasized). His works also lead to the criticism that “making too good” implies that his writing is inevitably invested in the art consumption system.