论文部分内容阅读
一面破碎的穿衣镜始终贯穿着《裂》系列的每一张作品,它不断变换场景,映射出作者和他的家人,中国式的家庭关系就在这种分裂组合中编织成微妙的情节;《年代》在军装与裸体的对比中重叠了不同时空和截然不同的两种生活态度;而《异常》则是作者迄今唯一的黑白摄影系列,去除了色彩的干扰,赤裸的视觉冲击被进一步强化……田太权就是从这些我们司空见惯的日常生活中抽离出他自己关于艺术的想象,并以略带游戏的态度,剥离出对日常生活的异常的感觉。而他的这种异常感觉,也许在观众那里又借由撩人的声色情态,演变成关于日常生活的世俗想象,仅仅成为简单的视觉刺激。解读的错位和落差,使异常的感觉成为真实的存在。如果说,1839年摄影术的发明,改变了人们数世纪以来观看和认识周边事物的视角,并对瞬间的捕捉和再现成为可能;那么在今天,摄影不仅仅是每个手持照相机的人,都可以用来记录自己的日常生活、发挥个人想象与创造的普遍方式,而且还是当代艺术的一种独立形式,一个观念与技术弥合的先锋实验——而田太权的摄影作品,就是试图在
A broken mirror runs through every piece of the Crack series, constantly changing scenes and mapping out the author and his family. Chinese-style family relations weave into subtle plots in this splittist mix; “In the uniforms and nudity of the contrast overlap in different space-time and two different attitude to life; and” anomaly "is the author so far the only black and white photography series, remove the color interference, naked visual impact is further strengthened ... It is from these common everyday lives that we have taken away his own imagination of art and removed the feeling of unusualness in daily life with a slightly game-oriented attitude. And his anomalous sensation, evolving into a secular imagination of everyday life, perhaps by the sultry tone of the audience, may simply be a simple visual stimulus. Interpretation of the dislocation and fall, so that abnormal feelings become real existence. If the invention of photography in 1839 changed the perspective of people watching and understanding of the surrounding things for centuries and made it possible to capture and reproduce moments, then today, photography is not just about everyone who holds a camera Can be used to record one’s own daily life and exert the universal way of personal imagination and creation, but also an independent form of contemporary art, a pioneering experiment in which concepts and technologies are close to one another -