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选择什么样的地方展出作品似乎不再是一件可有可无的事情,也不再是一个随心所欲的事情。当我们看到蔡国强在塞纳河上放烟花,看着50对情侣在船上潮起潮落,我们就不应该醋意他为什么不把这等好事情放在长江或黄河的某条船上,因为场所携带的符号性已经面向作品做出选择,通俗地说,他是为塞纳河定制了这样一件作品,当然要是放在黄浦江,这也不是不可以。当代艺术正在走过作品“去语境化”的噩梦期,这个噩梦包括作品独立存在,可以摆脱情境的因素而直接面向大众,也就是说,我们得想办法将其高高飘扬的虚幻的旗帜给拽下来,插到地上。
Choosing what kind of place to show your work seems no longer a nonessential thing, it is no longer a freewheeling thing. When we see Cai Guoqiang fireworks on the Seine and watch as the 50 couples ebb and flow on the boat, we should not jealous of why he did not put such good things on a boat on the Yangtze River or the Yellow River because of the places Symbolism has been made for the work to make a choice, in short, he is customized for the Seine such a work, of course, if placed on the Huangpu River, this is not true. Contemporary art is going through the nightmarish period of his work “Decontextualization ”. This nightmare includes the independent existence of works that can get rid of situational factors directly to the general public. In other words, we have to find ways to move the high-flying illusion The banner to pull down, plugged into the ground.