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本篇关注的艺术视野,事实上并不是艺术家梵高本身,而是今天以这个知名艺术家为影像母题所构建的展事行为。继北京、上海“不朽的梵高”之后,“梵高时代·印象派幻影艺术大展”在广州大剧院推出,并再次引起了公众的关注。事实上,这样的展览已经不仅仅是简单的某种经典艺术的普及行为,而是对于经典艺术进行的一种影像重建,是在新视觉文化背景下的对于经典的某种重新释读。耐人寻味的是,在这个吸引公众的影像作品当中,不仅原作是缺席的,艺术家本人是缺席的,就连艺术策划的团队本身也并不被注意,观众的注意力,全都落在幻化为影像的“梵高”身上。
This artistic field of concern in this chapter is not in fact an artist, Van Gogh, but rather an exhibition devoted to the image motif of this famous artist today. Following Beijing and Shanghai, “Immortal Van Gogh”, “Van Gogh’s Impressionist Phantom Art Exhibition” was launched at the Guangzhou Grand Theater, again attracting public attention. In fact, such an exhibition is not merely a popularization of a simple classic art, but an image reconstruction of classic art, which is a reinterpretation of the classic under the new visual culture background. What is intriguing is that not only the original work is absent, but the artist’s own work is absent from this public-appealing video work. Even the art-planned team itself is not noticed. The attention of the audience all falls into the illusion of being an image “Van Gogh ” body.