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我是在香港艺术俱乐部都爹利会馆的一次晚宴上见到奈瑞·巴格勒米安的。虽然当天晚上开幕的展览中,大多数作品都与她有关,不过却是以傅丹个展的名义推广宣传的。很明显,她在晚宴上还没意识到自己身份的消音。这有点儿尴尬,不过我觉得这或多或少反映了巴格勒米安对艺术史中作者身份的理解。她对展览的贡献并不是那么直接:她的名下只有一件雕塑形态的《猫头鹰》(2007),一个在桌上架起的臀形铸件,而其余大部分作品,例如让人联想到亚洲斗笠的灯具等等,都属于设
I met Nairobi Bagleamian at a dinner party at the Dudley Club, Hong Kong Arts Club. Although most of the works in the opening exhibition that evening were related to her, they were promoted under the name of the Fu Dan solo exhibition. Obviously, she was unaware of the silence of her identity at the dinner party. This is a bit awkward, but I think it more or less reflects Baghramian’s understanding of the author’s identity in art history. Her contribution to the show is not that straightforward: her name is Owl (2007), a sculptural form of a sculpture, a buttock-shaped cast on the table, and most of the rest, such as the Asian hats Lamps and so on, all belong to the design