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去年偶然看到杰罗姆·桑斯与32位当代艺术家的访谈,有个问题总是在访谈的开头反复出现:“你从什么时候开始画画的?”。这种对创作年代和媒介的限定,自然而然地就将访谈引入了特定的历史语境,于是艺术家又再次扮演起了过去时先知的角色。用刘庆元的话说:“一个原始人在地上捡起个木炭在墙上随便画点东西,在那个时候就是新媒体了。”他对于媒介的运用,既存在体力劳动者式的忠诚,又运用了装配家式的狡黠,他所说的“漏洞百出”其实是一种坚定的异质学说,以创造出与现存的感知系统和意义秩序不相切合的景观。
Occasionally I saw the interviews with Jerome Samce with 32 contemporary artists last year, and one of the problems always appears repeatedly at the beginning of the interview: “When did you start drawing?” This limitation of the age of creation and media naturally introduced the interview into a specific historical context, so that the artist once again played the prophet’s role as the past. In the words of Liu Qingyuan: “An original man picks up a charcoal on the ground and draws something on the wall. At that moment, it is new media.” He used both media and manual laborers, Using the sly assertiveness of home-style, what he calls “flaws” is in fact a firm heterogeneous doctrine that creates a landscape that does not fit into the existing perceptual system and the order of meaning.