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邱志杰,自幼接受传统书法训练和广泛的文史哲阅读,读美院之前就接触到当代艺术并有志于此,后学习分析哲学和现象学。同时创作装置、摄影等,关注媒体权力的控制问题,身份概念虚假性等。90年代中期获得写作的名声。之后策划录像艺术展,90年代末,转向对观念艺术的批评,策划后感性展览,鼓吹作品的现场性和综合性,并开始走向策展试验。后任教于浙美,用总体艺术的概念整合此前的创作、理论和实践,并用于教育。他说,他的目标不在艺术作品,而在人的健全。
Qiu Zhijie, who had been trained in traditional calligraphy and extensive literature, history and philosophy since childhood, came into contact with contemporary art and aspired to study in the Academy of Fine Arts before learning analytic philosophy and phenomenology. At the same time the creation of installations, photography, etc., concerned about the control of media rights issues, such as the concept of false identity. The fame of writing in the mid-90s. After that, we planned the video art exhibition. In the late 1990s, we turned to criticism of concept art, planned sensual exhibitions, advocated the liveness and comprehensiveness of the works, and started to move towards curatorial experiments. After teaching in Zhejiang and the United States, with the concept of overall art to integrate the previous creation, theory and practice, and for education. He said his goal is not in art but in human soundness.