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谷文达的“天堂红灯”计划试图将他的文化融合于和谐的乌托邦波普化,这是以数千乃至上十万的灯笼——中国传统节庆使用的物件——构成的尺寸巨大的作品来实现的。它计划在荷兰、瑞士、新加坡、香港、上海、杭州等地实施,灯笼或是包裹建筑,或是在城市的高架路上延伸,或是覆盖湖面。延续了他在“联合国”项目的持续性路径,这个系列从个人工作室和美术馆空间走向公共场所,从精英艺术走向大众艺术,因而引发了如何在“高文化”和“低文化”间构建桥梁、如何处理体制与艺术家之间可能产生的不一致或冲突、以及精英艺术在大众艺术和文化中的作用等课题。这些课题的讨论在当今中国变得尤其重要,因为大众艺术与文化越来越支配了中国百姓的日常生活,而实验艺术在全球化与城市化中被日益挤压,边缘化。谷文达的这个计划为我们考察在全球层次的两种不同、有时甚至对立的文化的互动提供了一个个案研究的对象。
Gu Wenda’s “Heaven on the Red Light” project attempts to blend his culture with a harmonious utopian popularization of enormous size, made up of thousands or even hundreds of thousands of lanterns - objects used by traditional Chinese festivals Works to achieve. It is planned to be implemented in the Netherlands, Switzerland, Singapore, Hong Kong, Shanghai, Hangzhou, lanterns or parcels, either on the city’s elevated road or over the lake. Continuation of his ongoing path to the “United Nations” project, which moves from personal studio and gallery spaces to public spaces and from elite art to popular art, raises the question of how “high culture” and " How to deal with possible inconsistencies or conflicts between institutions and artists, as well as the role of elite art in mass art and culture. The discussion of these topics has become especially important in today’s China because the art and culture of the masses increasingly dominate the daily life of the Chinese people, and experimental art is increasingly squeezed and marginalized in globalization and urbanization. Gu Wenda’s project provides us with a case study of the interaction between two different and sometimes even antagonistic cultures at the global level.