论文部分内容阅读
本文主要对卡塞尔文献展(13)展览作详细的介绍,围绕着策展人卡洛琳对于展览的构想和筹划,从展览中艺术媒介的拓展探究了艺术品的“物”的解放与形式的打开。展览将“物”从历史原境的束缚中解放了出来,现实及政治自觉又赋予“物”以新的语域,揭示了历史与现实、文化与政治、经济与社会等内在的张力及其复杂性。在卡洛琳处,卡塞尔文献展(13)是一种形式和概念上的抵抗,抵抗的对象是认识论上的封闭和知识生产。这就是她如此强调艺术对于“物”本身的解放的因由所在。事实上,艺术的物化本身就是为了将艺术还给艺术,从主体的认识逻辑或框架中解放出来,以一种更为开放的视野回应历史与现实。
This paper mainly introduces the exhibition of Kassel literature exhibition (13) in detail. Around the curator Carolyn’s conception and planning of the exhibition, this article explores the artwork ’s Liberation and the opening of forms. The exhibition liberates “things ” from the shackles of the original place of history, and realism and political consciousness give new conceptions of “things ” revealing the inner aspects of history and reality, culture and politics, economy and society Tension and its complexity. At Caroline, the Kassel literature exhibition (13) is a form and concept of resistance, the object of which is epistemological closure and knowledge production. This is why she emphasized art’s emancipation of the “thing” itself. In fact, the materialization of art itself is to return art to art, to free itself from the logic or framework of epistemology of the subject, and to respond to history and reality in a more open field of vision.