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最后三个人,除查卡拉巴给我们提供了一个如何讲述自己的历史故事的新视角外,其余两位大都与艺术创作,也就是“双年展”或“三年展”中的项目策划、构想、解说相关,真正涉及了想象中的“视觉思维”这一话题;对我而言,哪怕在想象中,总的感觉也是异常的沉重、压抑,因为最能吸引我、也是他们所共同聚焦的主题就集中在历史、记忆、证言、遗址、战争、苦难、屠杀、死亡、强暴、恐怖、遗体、模仿、再现、痛苦、哀悼、悲剧、忏悔这样一些画面(词语)的使用与理解上;在某种意义上,这三个人又是一致的,都涉及到历史的记忆与空白的证言,所以也就让我投入了巨大的感情进行阅读,仿佛身临其境,而且就在述说着自身的历史与记忆一样。
The last three, except that Chakrabar provided us with a new perspective on how to tell our own historical story, the other two are mostly involved in artistic creation, namely “Biennale” or “Triennial” Project planning, ideas, explanations related to the real involved in the imagination of the “visual thinking” of this topic; for me, even in the imagination, the general feeling is abnormal heavy, depressed, because the most attractive to me They also focus on topics like history, memory, testimony, ruins, war, misery, massacres, death, rape, terror, remains, imitation, reproduction, pain, condolences, tragedies and penance. Use and understanding; in a sense, these three individuals are the same, all related to the history of memory and blank testimony, so I also put a huge emotion into reading, as if immersive, And just talking about their own history and memory.