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…… 图像的新闻总是在满足某种期待.某种视觉的需要和意外的事件,使生活中的平庸在一个虚幻的世界里得到补充,真正的意识形态读者在电视观众中是少而又少的。对于周啸虎的近作《乌托邦机器》(2002)来说,他抓住的是这样一个实质,录像或电视的实质内容是当你在阅读图像的时候,或者说把图像作为真实的可能性来接受的时候,实际上是在等待自己的预期消费,这种期待又是由前在的图像造成的。周啸虎用虚拟的真实来表达“乌托邦机器”,他用陶制的人来代替现实的人,陶制的机器代替现实的机器。这是一种滑稽、荒诞的反讽,暗喻了文化消费的方式。这个作品与《童谣》是很不一样的,但在《童谣》中悟到的东西在《乌托邦机器》中被强化了。《乌托邦机器》还有一个特点是图像的对象不是真实的场景,而是对“艺术品”本身的拍摄,这样,我们可以假定对象也可以脱离录像而存在或展示。实际上,我们在当下的一些油画和雕塑中也可以看到以“电视”为题材的作品,周啸虎的智慧就在于他不仅用陶塑的故事表达了“乌托邦机器”是一个文化的现实,同时他也用这个“乌托邦机器”本身记录了这个现实,他颠覆的不只是现实,也颠覆了叙事的方式。这种颠覆似乎使我们忘记了录像的存在,就像我们每天打开电视机的时候忘记了我们被异化到一个
... The news of the image is always satisfying some expectation.A certain kind of visual needs and unexpected events make the mediocre in life supplemented in an illusory world. The true ideological readers are few and far between television viewers Less. For Zhou Xiaohu’s recent Utopia Machine (2002), he captures the essence that the essence of a video or television is when you read an image or accept the image as a real possibility When the time is actually waiting for their expected consumption, this expectation is again caused by the previous image. Zhou Xiaohu used the virtual reality to express “Utopian machinery,” which replaced the real people with potters, and the pottery machines replaced the real machines. This is a funny, absurd irony, a metaphor for the way of cultural consumption. This work is very different from “nursery rhymes”, but what is learned in “nursery rhymes” has been strengthened in the “utopian machine.” Another feature of the Utopian machine is that the object of the image is not a real scene, but a photograph of the “artwork” itself, so that we can assume that the object can also exist or be displayed without the video. In fact, we can also see the works titled “TV” in some current oil paintings and sculptures. The wisdom of Zhou Xiaohu lies in that he not only expressed the “Utopian machine” as a cultural reality with the story of pottery, but at the same time he This reality is also recorded in this “utopian machine” itself, in which he subverts not only reality but also subversive narrative methods. This subversion seems to have made us forget about the existence of the video, just as we forget when we turn on the television every day that we are alienated to one