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“第四届美术文献展:应力场”成为近一阶段艺术界一个热议的话题,而“应力场”作为一个物理概念的引用,策展人极其敏感地抓住概念转换的切入口,以视觉的方式来呈现和提出问题,为观众构建了一个通往应力场的视觉通道。不同视觉场域里的“应力场”在展览叙事中碰撞,这种碰撞震裂、引爆出更多的话题。在抽象概念的外表之下,观众更易剥离固有概念,并发现其本质和产生新的思考维度。驱使观众在当代艺术语境中,反观今天的文化、文明冲突、身份认同及世界文明秩序的重构。很显然,这场视觉应力场的入口只有一个,而出口却不止一个,这是一个隐匿的引力场。
“The Fourth Art Documentary Exhibition: Stress Field” has become a hot topic in the art field in recent years. As a reference to a physical concept, curators are extremely sensitive to the concept transition Cut the entrance to visually present and ask questions, creating a visual pathway for the viewer to the stress field. The “stress field” in different visual fields collided with the exhibition narrative, and the collision shattered and detonated more topics. Under the appearance of abstract concepts, viewers are apt to peel inherent concepts and discover their essence and produce new thinking dimensions. In the context of contemporary art, the audience is encouraged to reflect on today’s culture, clash of civilizations, identity and reconstruction of the world order of civilization. Obviously, there is only one entrance to the visual stress field, but more than one exit. This is an insidious gravitational field.