陈劭雄谈“没有空间的计划”

 

从约瑟夫.科瑟斯(Joseph Kosuth)的取消形式到谢里.莱文(Sherri Levine)的自我否定,我和刘鼎合作的项目“没有空间的计划”继承的是美术史中的另一条线索,演绎着思考的另一种逻辑,对现时的视觉艺术圈子中的形式生产,甚至谈不上形式生产的图像生产,采取反讥、反思、反照的方式,把我们意识到,但是难以表达的看法用一种极端的手段呈现出来。按照艺术史的普遍知识,艺术品生产者有意回避他们所受的影响,在夹缝中形成各自的图像特点,这些特点远远谈不上语言和形式,为弥补这些不足,他们虚假地借用一些社会学方法,但是他们对社会和政治问题的介入很少是亲历的行为,更多只是旁观,那些社会问题成了他们的图像资源。如果我们不能介入或解决一些我们无能为力的大问题,我们就必须回到具体的问题来,在我们这个行业中,探讨这个系统问题。

我觉得这个系统中的流行价值观是非常可疑的。

 

From the cancellation of forms by Joseph Kosuth to the self-denial by Sherri Levine, the collaborative work of Liu Ding and I, “Project Without Space”, carries on another lead in the history of art, showing another logic of thinking. For today’s form production in the visual art circle, or even worse, image production, we are trying to present our ideas which we realize but are hard to describe in an extreme way, through sarcasm, retrospection, and reflection. According to the general understanding in the history of art, producers of artworks deliberately avoid the influence on them, forming the image features of their own in the crevice. Such features are far from language or form though. To make up for the deficiency, they falsely make use of some sociological means, but few interventions in the social and political issues of them are their personal experience. Most of them are just spectators, and those social issues become their image resources. If we cannot intervene or solve some big problems that are beyond us, we have to come back to the specific questions and to discuss the problems of this system in our trade.

I think the popular values in this system are very questionable.

 
 
 

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