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跟大多数经历过十年动乱的艺术家不同,包泡的反思显得更为独特,当然也更为深刻。他将文革的产生归结为整个民族缺乏自我判断的“集体无意识”的推动,而不仅仅是一个政治领袖的个人思想的倡导。包泡在宋庄的这次名为“红色考古”的展览共分为六个部分:红卫兵、红小兵、通道、钵、宗堂和塔,既是历史的呈现,也是观念的表达。这些数量惊人的作品静静地摆在那里,呈现着一个时代的荒诞记忆,迫使我们作出更深的思考。
Unlike most artists who have experienced ten years of turmoil, the reflection of the bubble is more unique and, of course, more profound. He attributed the emergence of the Cultural Revolution to the “collective unconscious” impetus of the entire nation lacking self-judgment, not just the advocacy of the individual ideology of a political leader. The exhibition entitled “Red Archeology” in Songzhuang is divided into six parts: the Red Guards, the Red Brothers, the Passage, the Bowls, the Zongtang and the Pagoda, which are not only the historical manifestation but also the expression of ideas. These amazing works are quietly placed there, presenting the absurd memory of an era, forcing us to think more deeply.