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他捣毁神像,亵渎神明,烧掉了他童年时代的小提琴和家具。从此他占有这些领域:物品的堆积,切割,破坏并重组,用令人意想不到的方式和广度:《机器人和肖像》(1961年),《自觉地破坏文物》(1975年),《长期停车场》(1982年),《后天》(1984年),《神和女神》(1986年),《跨越雕塑》(1987年),《脏的画》(1988年),《瞄准颜色》(1993年),《藏品的堆积》(1993年),《相关的堆积》(1994年),《贝鲁特和平纪念碑》(1995年),《互动性》(1996年)。他甚至勇敢地在北京的人民大会堂做了一个行为艺术,为了保护中国的长城!现在的这个系列《埋藏的珍宝》关系到他个人的藏品,也关系到他堆积的想像力。在这上面,作品没有被概念化:讲述的知识被埋藏的做法,被阿曼本人的经历检验并修改,被他进行战略性的调整。
He destroyed the idols, blasphemed the gods, burned his childhood violin and furniture. Since then he has occupied these areas: the accumulation, cutting, destruction and reorganization of objects in unexpected ways and breadth: “Robots and Portraits” (1961), “Constructive destruction of artifacts” (1975), “Long-term parking (1982), Acquired (1984), God and the Goddess (1986), Leaping Sculpture (1987), Dirty Paintings (1988), Aiming for Colors (1993 ), ”Accumulation of collections“ (1993), ”Related accumulation“ (1994), Beirut Peace Monument (1995), Interactions (1996). He even bravely did a performance art at the Great Hall of the People in Beijing in order to protect the Great Wall in China. Now this series of ”buried treasures" relates to his personal collection as well as to his accumulated imagination. At this point, the work has not been conceptualized: the way in which the narrated knowledge was buried was examined and revised by Oman’s own experience and was strategically adjusted by him.