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在这次长征空间的汪建伟个展中,干净的展厅陈列和“脏物”标题间反差,再次用一种“必然”复杂的逻辑预设,将展览打造成一场考验着观者思维的、“谜语”式的答辩场。这种让很多人感到困惑的逻辑演算方式,也被默认成一种“汪氏”风格的典型标牌——不论艺术家如何警惕和质疑既有系统中的腐败倾向,但作为一个有“边界”的人,在对自我价值观有着清晰认定的同时,也会在不同“作品”的形式流转间,表露出很多与过去的自己重合或重复的精神“排演”方式。如艺术家在绘画中用线条干预形象、在装置作品中对于不同材质“尖锐”比对的偏好等等。
In the solo exhibition of Wang Jianwei in the Long March space, the clean display of exhibition space contrasts with the title of “Dirty Objects”, again using a kind of complex logical presupposition to create an exhibition that tests the viewer’s thinking The “riddle” type of respondent field. This kind of logical calculus that confuses so many people has also been tacitly defended as a typical sign of “Wang’s” style - no matter how artists should be wary of and question the corrupt tendencies in the existing system, but as a “border ”People, in the self-concept of value has a clear, but also in the different “ work ”between the forms of flow, showing a lot of overlap with the past or repeat their spirit “ rehearsal ”approach. Such as artists in the painting with lines to intervene in the image, in the installation works for different materials “sharp ” comparison preferences and so on.