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从今年夏天开始,《艺术界》开创了一个新传统。继去年推出亚文化百科全书式的专题“系统崩坏”之后,我们再次把数个艺术场景的片断集合在一起,探讨另一个艺术实践核心的边缘现象:缪斯,也即灵感的来源。不过,这里有一个问题:在今天这个时代,有时候很难说谁是艺术家谁是缪斯。勒内·吉拉尔(Rene Girard)的“模仿欲望”理论提出了由主体、客体和模型组成的三角关系架构。我们可以把它运用到艺术家的创作实践上,想象一下艺术家、作品和缪斯之间的关系。在一遍又一遍的反复而卓有成效的相互作用之
Beginning this summer, the “art world” opens up a new tradition. Following the launch of the sub-cultural encyclopedic project “System Collapse ” last year, we once again put together several pieces of art scene to explore the fringes of another core of art practice: the Muse, which is also the source of inspiration . However, here is a question: in today’s era, sometimes it is hard to say who the artist is a muse. Rene Girard’s Theory of Imitation Desires proposes a triangular structure of subjects, objects and models. We can apply it to the artist’s creation practice, imagine the relationship between artists, works and muses. Repeated and fruitful interaction over and over again