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多年以前,著名的查普曼兄弟在牛津现代美术馆讨论和展示他们何谓“创造蹂躏”的展览,展出的作品是在戈雅的一系列铜版画上添加一些卡通的形象。没有想到的是,号称戏剧恐怖主义者的阿佐·巴沙克冲将进来,把颜料泼到美术馆的墙面和展出的作品上,查普曼本人也未能幸免。结果是巴沙克被法官判处有罪。但他本人对此却不以为然,他宣称他的意图与查普曼兄弟转化戈雅的作品没有什么不同,同样都是一种创作。这使我想起上个世纪末第48届威尼斯双年展上蔡国强的获奖作品,以及他的《威尼斯收租院》所引发的一系列争论。这些个案所牵引出的问题,不断地激发出我们
Years ago, the famous Chapman Brothers discussed and showed at the Museum of Modern Art in Oxford what they called the “ravaged” exhibition featuring works of art that added some cartoon characters to Goya’s series of engravings. Unexpectedly, Aszo Baschak, known as the theater’s terrorist, was coming in and pouring paint onto the walls of the museum and the works on display, and Chapman himself was not spared. As a result, Bashar was found guilty by the judge. But he himself disagreed with this, claiming that his intention was no different from that of Chapman’s conversion of Goya, and that it was equally a creation. This reminds me of Cai Guoqiang’s winning work at the 48th Venice Biennale at the end of the last century, as well as his series of controversies triggered by the Venice Renting House. The problems led by these cases constantly inspire us