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从展览中我们可以感受到陈箴浓厚的、略带忧伤的乡愁,作品的外观即刻能透露出这点:机构铭牌、木制马桶、自行车、中式钱币、陈旧、磨损,以及黑白的彩色的上海万象……一个英年早逝者的乡愁,对今天的观者而言像是怀旧。不知是这次展览将陈箴扁平化了,还是陈箴作品普遍滞于跨文化意识尚扁平的90年代,诸如分别印着“Made in China”和“Western Products”的两只船首首相连,船尾螺旋桨无用地转
From the exhibition, we can feel the thick, slightly sad nostalgia of Chen Zhen. The appearance of the work immediately reveals this point: the nameplate, the wooden toilet, the bicycle, the Chinese coin, the old, the worn, and the black and white colored Shanghai Vientiane ... An nostalgia for those who died young is like nostalgia for today’s viewers. I do not know whether this exhibition flattened Chen’s works or whether Chen’s works lag behind the cross-cultural awareness of the 90s, such as the two boats bearing “Made in China” and “Western Products” respectively Prime Minister, aft propeller uselessly turn