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我知道自己写下了一个怪异的标题。然而,这恰恰是波格莱里奇给我留下的印象一一等待解释的矛盾体,时而展现出艺术世界中酒神的恣意飞腾,时而勾勒出酒神的愤怒坠落。这注定是断裂的、伤痕累累的描述。从1996年退出钢琴舞台,到今天重返人们的视野,波格莱里奇所传递出的怪异、困惑乃至痛苦感与日俱增,人们并没有听到因年岁而增加的圆融、和解。如果说稍早期的波格莱里奇尚能制造出如涅高兹所说的“天鹅绒上钻石般的音质”的话,那么2011年他留给大多数上海人的印象可谓惊心动魄:虐待钢琴
I know I wrote a weird title. However, this is exactly the contradiction that Pogreridge left me with the impression of waiting to be interpreted. From time to time, it shows the will of the Bacchus in the art world to soar and outlines the death of the Bacchus. This is destined to be a broken, scarred description. From 1996, when he left the piano stage and returned to people’s perspective today, the strange, confused and even painful feelings conveyed by Pogreridge have been increasing day by day. People did not hear the increase of harmony and reconciliation due to their age. If earlier Pogreridge could still create “diamond-like sound like velvet”, as Nirvz called it, the impression he left for most of Shanghai in 2011 was a thrilling move: abuse of the piano