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"Does the exhibition necessarily have works?" is a question raised by this exhibition. For this, my answer is yes. The word "exhibition" has the meaning of "displaying and reading" literally. If there is no work, the exhibition loses its object and content and thus loses its meaning. However, â€œWhat kind of works are chosen for the exhibitionâ€ and â€œhow to exhibitâ€ are really worth considering. The display of artist works does not necessarily represent the completion and end of the work. The works appearing in galleries, art spaces, and institutions are indeed completed works, but their significance can be continuously enriched with changes in time and space. Variety of changes. As an extremely special space, the exhibition space has its own meaning and its mission as a public space to open up more possibilities for works of art. To a certain extent, the exhibition space is a weapon that turns a stone into gold, and the work is a touchstone. When the two meet, it is not the narrow road that meets the brave winner, but the two need to complement each other for mutual benefit.
Many art space and curators have recently been trying to find a new, more challenging and persuasive exhibition model, but any model will appear to fall out of a kind of inertial thinking and fall into another problem. In dealing with this issue, Taikang space appears more thorough and bold. Unable to participate in the number of artists, there is no explicit purpose of the works of art, there is no unified method of exhibition, there is no well-designed planning, these "no" subvert the people's customary understanding of the exhibition, so that the exhibition presents a sense of randomness and nothingness Sex. In today's fragmented life, such "objects without merit" seem to be more in line with people's understanding, and those artistic creations that are constrained by established standards and models seem to have been unable to match with the diversified, marginalized lifestyles of today's people. Even more inconsistent with behaviors and ways of thinking that are deeply influenced by lifestyles. When boredom becomes the habitual state of life of people, any norms and standards become synonymous with deceptiveness. For this reason, unsigned works appear to be more interesting, speculation becomes part of the viewing of the exhibition, and game-like interactions have replaced the serious preaching. Non-original works also narrowed the distance between the audience and "artwork."
What complements these "unnamed names" works is the useless artist's speech record that is attached to the wall with adhesive tape. The artists were asked to send Taikang space to Taikang space for objects that were related to their recent lives but were not creations. They also answered questions such as â€œWhat are you interested in recently?â€ and â€œHow are you?â€ In the process of the study of art history and the analysis of the individual case of the artist, more attention is paid to the things behind the artistic creation. The talent of one person can naturally confirm the tact in his works, and the vulgarity can also be used to highlight the artist's attention to the creation. . Just as the artist's emotions and habits can be inferred through the brushstrokes in the works, the artist's attitude and mentality can also be seen in the answers to and responses to the questions, which can affect their creation and thus influence the appearance of the work. More importantly, their words and phrases provide us with the most direct study of their materials and literature, helping the audience to support their understanding and recognition of the exhibition.
This is an effortless exhibition, but it is full of humorous wisdom. This is also an exhibition full of criticism. Just as genius and madman are only separated by a line, there is only one foot width between art and garbage. When people continue to pursue â€œeffectivenessâ€, when people lose interest in the shocking concepts and forms of contemporary art, â€œuselessâ€ and â€œboringâ€ are like a warning bell. Let us reexamine the arts we need to face and need to respond. Problems, let us face the consequences and impact of high-speed standardized production.
Everyone wants to be a "useful" person, but there is no "useful" thing in the world. Like the objects exhibited in Taikang space, they are of no use, but they do not prevent us from looking for clues. "Useful value" is a result. It needs a "useless process" to pile up.
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