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20世纪80年代末至2000年后的中国,经历了最深刻而根本的变化。加速、赶超的民族潜意识仍然挥之不去,令人惊奇的数字增长背后是产业和地区之间的发展不均,改造的强烈愿望和生态资源之间的矛盾,以及高度商业化后个人加剧的焦虑情绪和无所适从。当在这二十年隐去“艺术家”身份、投身建设的尚暾再度做艺术的时候,选择采取一种更轻巧和幽默的姿态来转译社会剧变对于个体留下的痕迹。近期在上海东画廊开幕的“目录”是尚暾的首个个展,对尚暾的创作进行了线索性的梳理和展示。色彩艳丽的救生圈和
From the late 1980s to the post-2000s, China experienced the most profound and fundamental changes. The national subconscious of accelerating and catching up is still lingering behind the amazing number growth behind the unequal development between industries and regions, the contradiction between the strong desire for transformation and ecological resources, and the aggravation of individuals after highly commercialized Anxiety and confusion. When the “artist” status is hidden in the past two decades and the devoted construction is doing art again, a lighter and more humorous attitude is chosen to translate the traces left by the social changes on the individual. Recently opened in Shanghai East Gallery “directory ” is still the first solo exhibition of Shang, Shang Yu’s creation was a linear comb and display. Colorful life buoy and