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最有意义的艺术存在于一种具体的关系,作者和另一个人。何多苓很多年都在试图进入这种一对一的理想实践。正如何多苓自己说的,“我的作品表现个体而非群体的人,”“我的画上几乎不会出现(或保留住)一人以上的形体。”这个绘画立场几乎使得他很难在八十年代以来的中国当代艺术史中找到一个真正的位置。近二十年来的当代绘画,都在画代表一群人的某一“类”人,或者画一个人和集体的关系,这就是50、60后两代人以主题性和符
The most significant art exists in a specific relationship, author, and another. He Duoling many years are trying to enter this one-on-one ideal practice. As Duoling himself said, “My work represents individuals rather than groups of people,” “there is almost no (or retained) form of one or more people in my paintings.” “This painting position almost makes He found it difficult to find a true place in the history of Chinese contemporary art since the 1980s. In the past two decades, the contemporary paintings are all drawn to represent a group of people in a ”class" or draw a person and the collective relationship, which is 50,60 after two generations of thematic and symbol