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冷林:你的创作从20世纪90年代开始,已经有20多年的时间了,在这20多年当中你的成果相当丰富,其中转变的轨迹也非常清晰:从最初的作为一种想象国际关系的方式的《藏经》系列,到90年代中期,在一种寻找自我身份的冲动下、有意识地进行角色扮演的摄影系列,再到2001年开始刻意地收集、扫描身边的生活用品,直接表现这些器具的物理性,而消隐了自我意识的这种创作方式。这其中的转变非常有意思,是什么样的理由促成了你这样的转变?能否从今天的角度回头去谈一谈?
Leng Lin: Your writing has been going on for more than 20 years since the 90s of the 20th century. In these 20 years, your achievements have been quite abundant. The path to change is also very clear: from the beginning as a kind of imagination of international relations Way “series of Buddhist scriptures”. By the mid-1990s, consciously performing a series of role-playing photography under an impulsive search for self-identity, and then beginning to deliberately collect and scan personal necessities around 2001, The physicality of the appliance, while blanching the self-awareness of this creative way. The changes are very interesting. What kind of reasons have contributed to such a change? Can you go back and talk about today?