曾经以艳俗民间雕塑知名的李占洋,3月在麦勒画廊的最新个展呈现了与以往截然不同的风格面貌,不仅在创作语言上从架上雕塑转向了装置,而且在创作内容上也一改以往艳俗的热闹市井场面,取而代之的是他对自己的女儿这一代儿童被中国教育的重压的客观现实的隐喻性呈现。展览以“噩梦”为名,探讨的是教育扼杀儿童创造性、强行占有儿童娱乐时间的社会现实。当噩梦变成现实,身为父亲的艺术家,也只能通过 Li Zhanyang, once famous for his gaudy folk sculptures, presented his latest solo exhibition at the Myrle Gallery in March with a completely different style from the past, not only in the language of creation but also in the content of his creations The gaudy lively market scene of the past was replaced by his metaphorical presentation of the objective reality that the children of this generation, the daughter of her generation, have been under the weight of Chinese education. In the name of “Nightmare,” the exhibition explores the social reality of education that stifles children’s creativity and forcibly occupies children’s entertainment time. When the nightmare becomes a reality, as a father artist, only through