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本期《纸上美术馆》所辑选林明弘的作品,分别勾勒出艺术家创作生涯中两条不同的概念轨迹和时间线索。如同硬币的两面或刀之双刃,林明弘的艺术实践一直以来都围绕着同一个主题的许多彼此各异而又紧密关联的变体而展开,而这始终如一的主题就是:慷慨。他最知名的作品以大体量的花布填充建筑空间,此为他艺术实践的一极;而将在这里展示的创作则构成林明弘艺术的另一条线索,即,时间性和更富直接性的互动作品。慷慨是一个动态而非静止的概念。在林明弘的艺术语汇中,我们可以窥见某种盘旋于对立两级之间的微妙运动,它以变易性为核心,后者正是给予/接受、生产/消费、夜/日、光/暗、开/闭、暖/寒等一系列多样的二元性得以成立的源泉。此处选择和展呈的作品并不应被视作一次对林明弘1 998至2008年艺术经历的回顾,而更像是近距离地、有选择地审视这十年来的部分作品。
The works of Lin Minghong, a collection of works by the Museum of Paper Art, outline two different conceptual and time clues for the artist’s creative career. Like the two sides of a coin or the double edge of a knife, Lim’s artistic practice has always been centered around many different but closely related variants of the same subject, and the consistent theme is generosity. His best-known works fill the architectural space with a large amount of cloth, which is one of his artistic practices. The work to be exhibited here constitutes another clue to Lin Ming-hong’s art, namely, temporality and more directness Interactive works. Generosity is a dynamic, not static concept. In Lin Ming-hong’s art vocabulary, we can see some subtle movement hovering between two opposing levels, centered on transgenderness, which is giving / receiving, production / consumption, night / day, light / darkness , Open / closed, warm / cold and a series of diverse duality to be established source. The works selected and exhibited here should not be regarded as a review of Lin Ming-hong’s artistic experience from 1998 to 2008, but rather as a close and selective examination of some of the works of this decade.