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从年龄上看,陶宏可归入“70-代”艺术家的范畴。去年,“70-代”这个概念炒得很热,为此,我还写过一篇文章,对“70-代”的文化记忆、价值取向及语言特征进行过分析。有趣的是,看过陶宏的作品,才发现他和“70-代”扯不上什么干系。当“70-代”艺术家们努力地表达对消费文化的感觉时,陶宏却每日沉浸在对古典世界的体验中。一个逝去的诗意世界被他在现代经验上重建起来,其中若有若无地流露出几许调侃,几许沉思,有很多让人回味的地方。
In terms of age, Tao Hong can be classified as a “70-generation” artist. Last year, the concept of “70 Generation” was very hot. For this reason, I also wrote an article analyzing the cultural memory, value orientation and linguistic features of the “70 generation.” Interestingly, after seeing Tao Hong’s works, he found out that he and the “70-generation” nothing to do. When the “70-generation” artists worked hard to express their feelings about the culture of consumption, Tao Hong was immersed in the experience of the classical world daily. A lost poetic world was rebuilt by him in modern experience. If there is nothing to show how many ridicule, a few meditations, there are many memorable places.