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一提到贝尔纳·弗孔,得到的最直接反应就是“那个喜欢摆拍人偶模型的法国观念摄影艺术家”。可见,“玩偶”和“摆拍”已然成为弗孔作品最令人印象深刻的代表性风格,不过,这绝非他艺术的全部。这位从1976年开始创作,于1995年正当壮年之时毅然告别摄影的艺术家,在其近20年的艺术生涯中,将虚假与鲜活的主体相配搭,在真实的环境中营造虚构的场景,并用记录现实的方式将虚幻的瞬间保存下来,创作出多达7个系列的作品。弗孔和他的艺术,都恰似此次北京个展名“梦境”的英文原意—“真虚构”(True fiction)。
When it comes to Bernard Foucault, the most immediate response was “The French-inspired photographic artist who loves to model dolls.” Visible, “Doll ” and “Pendulum ” has become the most impressive representative style of the works of Freud, but this is by no means his art. The artist who started to work on the album in 1976 and took a farewell to photography when he was a strong man in 1995, has spent the past 20 years of his artistic career matching false subjects with fresh subjects to create fictional scenes in a real environment And save the illusory moments in a realistic way to create up to seven series. Both Foucault and his art are just like the original English translation of the Beijing solo exhibition “Dreamland” - “True fiction.”