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90年代另一位颠覆崇高、妙用调侃手法的嬉皮王子便是岳敏君。岳敏君画的青春形象绝对的个人化和类型化,画中的每一个人物都是他自己形象的演绎结果,不论是个人,双人或群像,一律的呲咧着大嘴狂笑。这种笑容形象由于高度类型化而排除了人们乐于希冀的内容和个性,人们看到感觉到的只是一个永远被搞笑的视觉标志,岳敏君的个性思想和文化态度,完全依靠这个标志传达给别人,也由于这种重复的图式,人们记住了岳敏君。他把人的脑袋画成一个注满了水的游泳池,泡在水里的便是那个咧着大嘴憨笑的“视觉标志”;或画一个没有脑袋的肢体抱着一个
In the 90’s, another hippie prince who subverts lofty and magical absurd tactics is Yue Minjun. The image of Yue Minjun’s painting of youth is absolutely individualized and typed. Every figure in the painting is the result of deduction of his own image, no matter whether it is an individual, a couple, or a group portrait, all of which are exasperated and ridiculed. Due to the highly typed image, this kind of smile excludes the content and personality that people hope for. People only feel the visual symbol of being always funny. Yue Minjun’s personality thought and cultural attitude rely entirely on this sign to convey to others. Also because of this repetitive schema, people remember Yue Minjun. He painted his head as a water-filled swimming pool, soaked in water with the “visual logo” of a grinning, or drawing a headless body holding one