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金锋的艺术有一个明显的分水岭:2005年之前,他辗转于各种艺术本体语言,包括材料的实验;2005年的《秦桧夫妇站像》,他选取了热门的社会新闻,表达对观代社会人权、女权态度的同时,也为作品如何从展厅走向社会语境提供了可能的方向。用他自己的话来说,这就是他的“创作三原则:主题不原创、选择是态度、重在转换”。10余年来,金锋对当下制度、政治、人的“安身立命”等主题进行了持续的关注和转换。本刊通过此次访谈,意图通过其思考的脉络和轨迹,提示以下问题:如何将知识分子的思考转换成具体的艺术?在当下语境中,我们面临的种种现实,艺术能有什么作用?
There was a clear watershed in Jin Feng’s art: before 2005, he had been involved in a variety of art ontology languages, including experiments in materials; in 2005, “Qin Cymbidium Standing Like a Woman,” he selected popular social news, Social human rights and feminist attitudes, it also provides a possible direction for how works from the exhibition hall to the social context. In his own words, this is his “creative three principles: the theme is not original, the choice is attitude, emphasis on conversion ”. For more than 10 years, Jin Feng has made continuous attention and conversions on the current system, politics, human beings, and other topics. Through this interview, this magazine aims to reveal the following questions through the context and trajectory of its thinking: How to convert intellectual thinking into concrete art? What role can art play in the current context?