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当下,亚洲与我们的关联性大多建构在以政治地理搭筑的论述之上,主流书写环绕着有关国族疆界的轮廓描绘,作者们扎实的将双脚踏在陆地,阐述着那些看似固着生根的现象,但认知亚洲的曲径是否能以洋流的姿态从海洋的视角出发,拥抱时空所造就的距离棱镜,脉络化认识论中不可或缺的想像,使亚洲作为一个概念在美学的话语空间中得到系谱式的省视?“失乐园”是新加坡当代艺术中心正式启用后的首档展览计划,由中心创始总监乌塔·梅塔·鲍尔以及策展人安卡·鲁若尤共同策划,通过三位祖籍源于亚洲的离散艺术家郑明河、查琳娜·敏菊以及费欧娜·谭的录像装置,互文式的回应两位策展人
Currently, most of Asia’s relations with us are based on the exposition of political geography. The mainstream writers depict the contours of the borderline of the nation concerned. The authors firmly put their two feet on land and expounded the seemingly fixed But whether it is possible to recognize the Asian meandering path from the perspective of the oceans by embracing the distance created by space and time and the indispensable imagination in the epistemology of the philistinism makes Asia as a concept in aesthetic discourse “Lost Paradise” is the first exhibition plan after the official opening of the Singapore Center for Contemporary Art. It consists of Uta Meta Bauer, founding director of the center, and curator Anka Lu In particular, the co-curators, through three video recordings of three original artists from Asia, Zheng Ming He, Charlene Minju, and Fiona Tan, responded in an interactive manner to two curators