《画刊》:你最初是怎么接触到博伊斯的?杨小彦:忘了是通过什么方式接触到博伊斯的了,但和上世纪90年代中期想了解装置这一艺术形式有关。当时装置刚刚兴起,有一种倾向,似乎只要做了装置的,都是好的。我曾经对其中的标准,也就是什么是好的装置,什么是不那么好的装置的标准,产生疑问,于是开始寻找相关资料。大概从那时开始了对这个德国艺术家的了解吧。但直到2000年以后才看到一本博伊斯评传,对他的生平及作为有了更详尽的了解。 “Art Magazine”: How did you first get in touch with Boyce? Yang Xiaoyan: I forgot about the way to get to Boyce, but it’s about getting to know the installation as an art form in the mid-1990s. At that time the device was just emerging, there is a tendency, it seems that as long as the device, are good. I used to be one of the criteria, which is what is a good device, what is not a good device standard, in doubt, so began to find relevant information. Probably since then began to understand this German artist. However, it was not until 2000 that a Boyish comment was made and a more detailed understanding of his life and work was available.