论文部分内容阅读
第一眼看到杨心广作品的观众,脑海里跳出来的词汇也许是:贫穷艺术,极简主义,物派,禅等等。深入作品,我们会发现如果试图以上述词汇来形容或定义他的创作都是片面且武断的。正如他的最新个展的主题“草灰蛇线”所提示,这是一个关于痕迹的展览,我不在这里提线索而是痕迹,是因为线索有被文本化的危险。也许不是杨心广有意为之,但他的作品里社会学意义的缺席的确使文本阐
At first glance, when you see the audience of Yang Xinkang’s works, the words that jump out of your head may be: poor art, minimalism, materialism, Zen, and so on. In-depth work, we will find that if you attempt to use the above terms to describe or define his creation is one-sided and arbitrary. As the theme of his latest solo show, “Grass and Snake Lines,” suggests, this is an exhibition on signs, and I am not here to mention it but because of the danger of textualization. It may not be Yang Xinguang’s intention, but the absence of sociological significance in his works does make the text