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中国社会进入现代化进程后,加速了社会肌体的变化,甚至在某些情况下,面貌全非。这样的语境为艺术创作提供了巨大的机会和挑战,它要求于当下艺术的,不单单是形式的跟进,更重要的是艺术家对社会场域变迁的感应和心理体验,也就是本真的生活呼唤着一种思考型的艺术。黄庆军的《家当》系列影像作品立足于这样的时代转换,去捕捉我们生活中的物品本身,以物的形态去透射寄寓其中的人的内在属性。这样,黄庆军的《家当》系列作品就成为检视中国生活情境的视觉图景。它们不仅是解读当下中国社会生活在场的图像文本,也昭示了影像作为艺术所具有的特殊价值和功能。
After the Chinese society has entered the process of modernization, it has accelerated the changes in the social body and, in some cases, even the whole picture. Such a context offers enormous opportunities and challenges for artistic creation. It requires that contemporary art not only follow form, but more importantly, the artist’s induction and psychological experience of social changes in the field, that is, Life calls for a thinking-like art. Huang Qijun’s series of “Dang Dang” images are based on such an epoch-making shift to capture the objects in our lives and to transmit the intrinsic properties of those who embrace them in the form of matter. In this way, Huang Qingjun’s “Wudang” series of works has become a visual illustration of China’s life situation. They not only interpret the image text of the present presence of social life in China, but also show the special value and function of image as art.