Slide

OLLEH

Exhibition

OLLEH

艺术家:太平

2020.12.12 - 2021.1.12

若如福柯所言,语言是一切被念出的东西的喃喃低语,太平的作品会在每一个步入展厅的人耳旁不断变换着低频振动。这种语音的变换源自艺术家创作方式的偶发性和反抗性,即他对瞬间灵感的捕捉和对既定范式的逆反。

正因如此,太平的作品呈现出块状分割感,而当我们放大去看这些块状区域,则会发现它们由碎片构成。作为观者,我们需要仔细观察、自省,才能在碎片的周围找到那个使其自身存在的,像文学之连续性一样的东西。

这种东西存在的前提,是太平保持着作为艺术家的自由姿态。这种自由不是安那其式的,恰恰相反,它是规范支配下的自由。矛盾但又可理解的是,太平无意破坏和毁灭那个由精英阶层所规范的文化系统和符号结构。他通过艺术实践作出行动,如同在午夜和朋友闲聊般调侃着艺术界所奉圭臬。

太平将自己假设为一个被实验对象、被批判对象,利用自己的实践来讽刺那早已僵化的,意识形态层面的欺骗。由此,他成为了一种仿真,一种与模仿的形象相反的,排除了相似性,以差异为食的存在。源于《傲慢与偏见》和《善恶的彼岸》之中的作品名称,蓝黑画面中的图腾符号,还有那个洗脑般的“OLLEH”,都是作为仿真形态的反词语对已有规则的持续僭越。

在此方法论中,仿真变成了破坏范式和复制的狡猾手段。这也恰恰证明了,太平以戏谑的态度剥夺旧形式的实体内容,并以戏仿之形式再演的实践在公认范式中被视为失败时,这种“失败”在后现代的形式上是成功的。

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10.00am – 6.00pm

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Yinjiachong Rd, Tianxin District
410000 Changsha

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