论文部分内容阅读
2009年孙晓晨创作了一个名为“咔嚓”的作品系列,这个系列主要是以“老相机”为表现对象,还旁涉到“老镜头”、“老胶卷”等相关的题材内容。关于“咔嚓”的创作初衷孙晓晨自己说得很清楚,那就是“艺术家对于历史的自我看法”。事实是从新世纪以来年青一代对于历史的关注度明显上升,而且这种趋势在当下已经变得愈加的明确。但是新一代眼中的历史,已经不是整体性的概念却是被撕裂以后的过往碎片,因此在自己的创作中年轻的艺术家们,并不像50年代出生的艺术家那样高调强化历史时代的意识形态,也不像60年代出生的艺术家那样对于逝去的岁月冷嘲热讽和玩世不恭,更不像70年代出生的艺术家那样“未老先衰”般地沉浸于自我记忆而喃喃自语。正如孙晓晨在“咔嚓”系列中所抱持的态度,青年一代更加强化了自我的立场,并热衷于不偏不倚地呈现所谓的历史真实。
In 2009, Sun Xiaochen created a series of works entitled “Kacha”, which is mainly based on the “old camera” and the objects of “old camera”, “old film”, etc. Related theme content. About the original intention of creation of “Kacha” Sun Xiaochen made it very clear that it was “the artist’s self-perception of history.” The fact is that the attention of the younger generation to history has risen sharply since the new century, and this trend has become increasingly clear nowadays. However, the history of the new generation, not the concept of integrity, is a fragment of the past after being torn apart. Therefore, young artists in their own creations are not as high-profiled as the artists born in the 1950s to strengthen the ideology of the historical era Unlike the artists born in the 1960s, cynicism and cynicism over the years gone by, and even less like the artists born in the 1970s who “immerse themselves in self-remembering and mumble themselves. As Sun Xiaochen’s attitude in the ”Kacha" series holds, the younger generation has further strengthened his position and is keen on imparting the so-called historical truth impartially.