当自然的风景被园林化之后,大量人类固有的审美情趣被附加给自然,加速了风景的功能化。造园术的兴起,不仅仅是中国审美趣味对于自然的野蛮改造,更为重要的,为艺术介入社会的可能性提供了实践的范例。刘维维的《园林》系列作品,选择对于人工造园产物的再现,其重点显然不是要强调“人工的人工”或是“图像的图像”的概念,相对于文化上的忧虑,再现或者再造更像是艺术家深思熟虑后,选择的一种具体的抵抗方法,或者说是对于图像泛滥化甚至合法化的中国当代艺术创作现状的一种嘲讽与回应。 When the natural landscape is landscaped, a large number of human inherent aesthetic taste is attached to nature, accelerated the functional landscape. The rise of gardening is not only an example of the barbaric transformation of Chinese aesthetic taste for nature but more importantly for the possibility of art involvement in society. Liu Weiwei’s “Garden” series of works, the choice of artificial reproduction products, the focus is obviously not to emphasize “artificial labor ” or “image image ” concept, relative to cultural concerns, reproduction Or reincarnation is more like a concrete method of resistance chosen by the artist after careful consideration, or a ridiculous response to the current situation of Chinese contemporary art creation, which is flooded or even legalized.