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本文之所以选择这种似乎不正规的美术评论的写法,其缘由是,正在我阅读法国著名现象学哲学家梅洛·庞蒂的美学文集《眼与心》的时候,油画系教师作品双年展也同时开幕。这种相遇唤起了我的一些想法。显然,象双年展这样以追求学术性为旨归的展览,沿袭某种“八股”套话加以评说,实际并无多大意义。我们何不借用现象学的创始人胡塞尔提出的“现象学的悬置”,暂时将过去关于绘画的形而上学的思考“悬置起来”,仅仅按照现象学的观念对这个展览作一番审视呢?这也许是一种冒险,但作为尝试又未尝
The reason why this article chooses this seemingly informal art criticism is based on the fact that while reading the Aesthetic Collections of Eyes and Heart of Melo Ponty, the famous philosopher of phenomenology in France, Exhibition also opened at the same time. This encounter evoked some of my ideas. Obviously, exhibitions pursuing academic purposes like the Biennale follow a certain stereotype of “eight-legged” commentary, which is of no real significance. Why not borrow the “phenomenological suspension” proposed by Husserl, the founder of phenomenology, to “suspend” metaphysical thinking about painting in the past and to examine the exhibition according to the concept of phenomenology This may be an adventure, but as an afterthought