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托比亚斯·麦迪逊的工作很难被简单归类。他是策展人、作者,经营过展览空间和影院,以不同方式合作完成艺术项目。他工作的中心内容是围绕今天的艺术、个体和机构的开放空间,探讨自决的根本性问题。在凯斯特纳协会的最新个展中,托比亚斯的录像新作《血,在咬梨时凝结在果肉里》是基于寺山修司电影《番茄酱皇帝》(1971)重新创作的。《番茄酱皇帝》讽刺了战后日本萌芽的毛式学生运动的教条主义,通过描述儿童对成年人的革命揭露了极权主义历史的根源。在寺山修司的电影中,意识形态和表演是分开的,它们分别作为图像和画外评论,
Tobias Madison’s work can hardly be easily categorized. He is curator, author, has run exhibition space and theaters and has collaborated on various projects in various fields. The centerpiece of his work revolves around the open space of today’s arts, individuals and institutions and explores the fundamental issue of self-determination. Tobias’ latest video, “Blood Blooming in the Flesh while Biting Pear,” was re-created on the basis of the monastic film “Tomato Ketchup” (1971) by Temple Mountain, the latest Kustner Society solo exhibition. The “ketchup emperor” ironically dogged the dogmatism of the budding Maoist student movement in Japan after the war, revealing the roots of totalitarian history by describing children’s revolutions in adults. In the monastic film Temple, ideology and performance are separate, they were used as images and painting comments, respectively,