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在第55届威尼斯双年展的“百科宫殿”中获得了极高的殊荣之后,“郭凤怡”也成为了一个备受艺术圈关注的明星人物。地道的陕北农民、气功、疾病、易经、鬼画符等,都成为粘贴在这位已逝妇女身上的层层符咒,诱惑着各路人马将“她”放置在艺术、政治和商业等不同的圈套间来回地推搡和审视着:或为其贴金,或为其烧纸。但不论是赞许还是质疑,在那些或长或短、尘烟喧嚣的争论现场中,网络考古的力量却已将“郭凤怡”蒸馏成一个含义复杂的文化代号,并以“民间”作为前提来重新考量着何为当代艺术这一反复被烹煮的话题。而从很早就开始流淌在当代艺术中的民间血液,最初曾经历过学院语调和前卫姿态的二次淋浴,并一度成为了代表着上世纪90年代中国当代艺术个性的独特脸谱在国际舞台上频频亮相。
After winning a very high honor at the “Encyclopedia Palace” at the 55th Venice Biennale, “Guo Feng Yi” has also become a star who has drawn much attention from the art world. Authentic Northern Shaanxi peasants, qigong, disease, I Ching, ghosts and so on, have become pasted on the body of the deceased woman layers of spell, lure all walks of life will “She ” placed in the arts, politics and commerce Different sets of snaps back and forth to push and examine: or for its gold, or its burning paper. However, whether it be for approval or doubt, the power of online archeology has distilled “Guo Foyi” into a complex cultural code in the debate of long or short dusty clashes, with “folk” as the Premise to re-consider what is the contemporary art of this repeatedly cooked topic. From the earliest beginning of the folk blood flowing in contemporary art, it has undergone a secondary shower of college tone and avant-garde at first, and has once become the unique facepiece representing the personality of Chinese contemporary art in the 90s of last century. On the international stage Frequently appeared.