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看朱伟的作品很容易让人想到在上世纪90年代艺术圈内炙手可热的两个名词,就是“玩世写实主义”和“政治波普”。在这两个被西方艺术界的好奇眼光和中国策展人的雄心壮志共同锻造出的具有时代特色的流派概念的笼罩下,出现了几位至今依旧是镁光灯追逐焦点的明星大腕,也埋葬了一大批意图借助现代与前卫之名而得到西方艺术体制垂青的失意文人。而朱伟作品中所呈现出的含混状态却使其无法被确切归入到两个概念之中的任何一个,将带有戏谑感的形象和对于社会生活的个人化认知糅杂在一起构成了朱伟早期作品的主要基调,其中对于政治符号或人物的引用似乎只是一种并没有明确政治意图的诙谐玩笑,就像是《鹿鼎记》中的韦小宝将康熙教诲的“尧舜禹汤”兀自篡改成鸟生
It is easy to think of Zhu Wei’s works as one of the hottest terms in the art circles of the 1990s, namely “cynical realism” and “political pop”. In the wake of these two notions of genteel genre jointly forged by the curious eyes of the Western art world and the ambitions of Chinese curators, there have been some star celebrities who are still the spotlight of spotlight chasing, and also buried A large number of desperate literati, who sought the favor of the Western art system with the help of modern and avant-garde names, However, the obscure state presented in Zhu Wei’s work makes it impossible to be categorized as exactly one of the two concepts. It combines the image of joking with the personal cognition of social life The main tone of Zhu Wei’s early works, in which the reference to the political symbols or characters seems to be just a kind of jest without clear political intent, is like Wei Xiaobao’s compilation of “Yao, Shun, Yu Tang” taught by Kangxi Into a bird