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戴耘的近作,以他所擅长的技术方式重新进入历史。如果说,戴耘曾经以一种摹仿的方式,用青红砖材料再现了日常生活中的物品,成为当代生活的符号性象征。那么,在近期(实则是近6年来)作品中,他将其目光从现实生活转向历史深处。在那里,他似乎找到了自我的存在感—一种通过艺术史获得的存在感,这种存在感不是个人肉身的存在,而通过艺术与不同民族精神的演进历史相遇,在一种集体性的人类自我意识中感受到个体的存在。
His recent work, Dai Yun, re-enters history with the techniques he is good at. If we say that Yun was once in a way of imitation, using red brick material to reproduce the daily life of the goods, a symbol of contemporary life symbolic. Well, in the near future (in the past six years or so) his work has shifted his gaze from real life to the depths of history. There, he seems to have found a sense of being of himself - a sense of being acquired through art history, which is not an individual existence, but meets through the history of the evolution of the arts with different national spirits, in a collective Human self-consciousness felt the existence of individual.