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展览无论从作品的分类、呈现方式、和空间的应用都明显以二元对立的形式划分。这使观者误认为,艺术家预期展示给观众的是一个非黑即白的世界观,相反,胡晓媛通过将工作室中无论是装置还是用录像记录的行为等一系列实验在画廊重现,从中期待通过观者整体与入微的观看打破对事物既定的认知。主展厅的《蚁骨》和《无题》系列呈现出静止的状态,胡晓媛希望通过绘画过程(行为)复写生命的痕迹,作为“木”系列的延伸,附上绡的废弃木料上被墨勾勒了其原有的纹
In terms of the classification of works, their presentation and the application of space, the exhibition is obviously divided in the form of binary opposition. This causes the viewer to mistakenly believe that the artist expects to present to the audience a non-black and white worldview. On the contrary, Hu Xiaoyuan reappears in the gallery by experimenting with a series of experiments in the studio, whether it be installation or video recording By observing the overall view of the audience and breaking the established understanding of things. Hu Xiaoyuan hopes to reproduce the traces of life through the painting process (acts), as an extension of the “Mu ” series, attached to the waste wood on the 被 is ink Outlines its original pattern