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我站在达米安·赫斯特(Damien Hurst)《对遗忘的追求2004》(The Pursuit of Oblivion 2004)前面,试图盯进一条活鱼的眼睛。它带着无与伦比的冷漠,滑过一把屠刀锋利的边缘。我感到一阵悸动。时间滑过,面对这个作品,我被诡异的感觉紧紧抓住,这雕塑在表演:这物体是活的。赫斯特非同寻常的活动水族雕塑是一个巨大的养鱼箱,里边还挂着两大扇牛肉,牛肉盖在一把张开的雨伞上,雨伞挂在一个屠宰桌上方——把很多当代视觉艺术实践中“找麻烦”的潮流压缩到进一件作品里。似乎《对遗忘的追求2004》更是对某种现象的再现,而非对某件事的再现。它拼贴中的粗暴性让观者呼吸暂停。腐烂和异域之美、静态和流动性、本质性的和装饰性的、毁坏和保存在这件作品里并列而立,震惊人们的感觉。这件作品占
I stood in front of Damien Hurst’s 2004 “The Pursuit of Oblivion 2004,” trying to stare into the eyes of a living fish. With its unparalleled indifference, it slides over the sharp edge of a butcher’s knife. I feel a throb Time slips, in the face of this work, I was caught by a weird feeling, the sculpture is performing: This object is alive. Hurst’s Unusual Event An aquarium sculpture is a giant fish tank with two large pieces of beef hanging over an open umbrella and an umbrella hanging over a slaughter table - In the field of visual arts, the trend of “looking for trouble” is compressed into one work. It seems that “the pursuit of forgetfulness 2004” is more of a phenomenon of reproduction, rather than a reappearance of something. The rudeness in its collage allowed the viewer to breathe temporarily. The beauty of rotting and exotic, static and liquid, essential and decorative, destructive and preserved in this piece of work stand side by side, shocking people’s feelings. This piece of work accounted for