早在第一次乡村诗学展览尚未出炉之前,郭鸿蔚就已经蓄谋了它的续集。他在展示梁远苇作品的那堵假墙上开了一个暗门,在后面贴着真墙位置悄悄地种了一排爬山虎。这一看似无心插柳的举动,纯属艺术家的个人意愿所趋,将室外超常生命力的植物挪到室内,并为自己的视觉环境提供宝贵的绿色。这一行为同时也让观者有幸在第二次展览上看到了那些长得依依歪歪且颓废的常青藤。而艺术家王光乐见此场景后,用绿色的水磨石填满了剩下的白墙。在延续第一次展览命题的同时,即审视那些工作室位于城乡接合部的艺术家们的创作与他们所处生 As early as the first rural poetic exhibition has not yet released, Guo Hongwei has already plotted its sequel. He opened a secret door on the fake wall displaying Liang Yuanwei’s work, quietly planting a row of ivy on the back of the real wall. This seemingly unmotivated move is purely an artist’s personal will, moving plants with extraordinary vitality to the interior and providing precious green for their visual environment. It also gave the audience the privilege of seeing the Ivory Wreaths decadent and decadent in the second exhibition. After the artist Wang Guangle saw this scene, the rest of the white wall was filled with a green terrazzo. While continuing the first exhibition proposition, we will examine the creation of the artists who work in the urban-rural junction with the students