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真实之物如何存在于画面之外?李青近期的个展《大教堂》提醒了我们这个有趣的议题。展览之中无论是以物像映照的《节日完了》(2012)、《最后的主义——列宾<托尔斯泰犁田>之后》(2013),还是重现世俗场景的《乡村教堂》(2011),都呈现出艺术家对于物与像二者边界的有意模糊。在此,李青的绘画并不是基于人类生活的各类现实的简单再现,现实之物在面对绘画之中的图像本身的结构之时,甚至呈现出诡异与可笑的一面。
How does the real thing lie outside the picture? Li Qing’s recent solo exhibition “The Cathedral” reminds us of this interesting topic. In the exhibition, both the “festival is over” (2012), “After the Lasting Beliefs - Repin Tolstoy” (2013), or the “Village Church” recreating secular scenes, (2011), all show the artist’s intentional ambiguity of the boundary between things and the two. Here, Li Qing’s painting is not based on the simple reappearance of all kinds of reality of human life. Even when the reality is faced with the structure of the image itself in painting, Li Qing’s painting even shows a weird and ridiculous side.