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热点述评“谁动了我的公共艺术”——这里面的“谁”是指谁?这里面的“我”又是指谁?一时很难说清楚。但不要紧,读者对这个话题应该很快有一种领悟,因为去年有一本风行一时的畅销书叫《谁动了我的奶酪》。在此,我们可以把作为意识形态实践形式的公共艺术比作一块包含政治、经济、艺术、公众、传媒的大生日蛋糕,政治意识形态是过生日的人,蛋糕店代表着经济,他们两家与艺术家合计出主题贺辞、大小方圆、奶油花色、玉桂可可、水果蔬菜,等等,然后,传媒领着唱歌点蜡烛,当然,最后要端出来给公众,或多或少,大家都必须吃——绝不是因为肚子饿,这是第一义;第二义,《谁动了我的奶酪》中,小老鼠嗅嗅、匆匆与小矮人哼哼、唧唧,在奶酪被动了以后,表现出完全不同的反应,嗅嗅、匆匆积极行动,哼哼、唧唧则犹豫不决,矫情抱怨……;还有第三义、第四义……,请读者自己慢慢读吧。 主持人/李永林(特邀)杨斌前沿报道 美术作为文化的视觉承载方式,它应当以不同的方式表现对人生存处境的关怀。美术的价值有普遍性,但必须通过不同地域、不同民族的具体创造而得以体现。从这个意义而言,文化本身无“中心”与“边缘”之分。2003年6月在桂林召开的“漓江画派”理论研讨会,既是广西画家以群体的方式推出自己的行动,也是一次研讨地域文
Hot comments “Who Moved My Public Art” - Who is “Who” in this context? Who is “Who” in this context? It is hard to say for a while. But it does not matter, readers should have a quick understanding of this topic, because last year there was a popular bestseller called “Who moved my cheese.” Here, we can compare the public art as an ideological form of practice to a big birthday cake that contains political, economic, artistic, public and mass media. The political ideology is a birthday, the cake shop represents the economy, and both of them With the artist, summed up the theme of the message, the size of the radius, the cream color, cinnamon cocoa, fruits and vegetables, etc., and then the media led sing some candles, of course, the last to be out to the public, more or less, we must Eat - not because of being hungry, this is the first meaning; second meaning, “who moved my cheese”, the mouse sniffs, hastily with the dwarf hum, chirp, after the cheese was passive A completely different response, sniffing, hastily active action, hum, hanged hesitant, hypocritical complain ... ... There are third meaning, the fourth meaning ... ... Please read the reader slowly. Moderator / Li Yonglin (invited) Yang Bin Frontiers Art as a visual bearing of culture, it should be different ways to express concern for the living conditions of people. The value of art is universal, but it must be embodied through the concrete creation of different regions and ethnic groups. In this sense, culture itself has no “center” or “edge”. In June 2003, a theoretical seminar on “Lijiang River School of Painting” was held in Guilin, not only as a group of Guangxi painters to launch their own activities, but also to study regional documents