图像即图像，而模式也别无他意。凭空创造的“士兵系列”是为内心设置的一堵守护墙，过度的“艺术家自述”另原本的样貌语焉不详，而在意识中真实存在过的形象会不会更有说服力。作品中匪夷所思的联动装置，或近乎精密的细节设定，暗示早从一开始就放弃了对环境的社会性对峙， 而仅仅是艺术家四年前，于纸本平面设定的运行环境中完成自我生成的未知模式而已。
每日归档: 2018-10-25
3 篇
‘observing eyes, flexible minds and skilled hands’Josef Albers, Search Versus Re-Search (1969)Since its inception, in 2012, the Istanbul Design Biennial has carved a space for thought-provoking and critical curatorial positions unlike any other event in the global design calendar. Titled ‘A School of Schools’ and curated by Jan Boelen with Nadine Botha and Vera Sacchetti, its fourth edition looks to education and learning paradigms that, as the curators write in their introductory essay, look ‘beyond design as solution and school as institution’. The curatorial premise builds upon a century-long history of pedagogical critique and cultural radicalism – from the 1919 Bauhaus Manifesto, to Black Mountain College, to the ‘hippie modernism’ of the Whole Earth Catalog and the Italian Global Tools initiative, among many others. While inspired by such precedents, the biennial seeks to interrogate their legacy, as well as to reflect on the inadequateness of extant educational models vis-à-vis the uneven socio-economic conditions of the global present. Searching for alternative propositions to rescue design education from the functional pragmatism of industrialized creativity, ‘A School of Schools’ asks: ‘What if the school we need now is a personal attitude of questioning and figuring out?’ - “观察的眼睛，灵活的头脑和熟练的手”约瑟夫·阿尔伯斯，搜索与重新搜索（1969）伊斯坦布尔设计双年展自2012年成立以来，已为发人深省和关键的策展位置开辟了一个空间，不同于全球设计日历上的任何其他活动。它的第四版名为“学校学校”，由简·波伦与纳丁·博塔和维拉·萨切蒂共同策划，它着眼于教育和学习范式，正如馆长在介绍性论文中写道，这些范式超越了设计作为解决方案，学校作为机构。策展的前提是建立在从1919包豪斯宣言教育批判文化激进主义–长达一个世纪的历史，在黑山学院，对整个地球的目录”和“嬉皮士现代意大利全球工具主动，等等。而受这样的先例，两年一次的试图询问他们的遗产，以及反映不够现存的教育模式对à可见的全球存在不均匀的社会经济条件。寻找替代主张救援设计教育从工业化创新功能的实用主义，“学校学校问：“如果我们需要学校现在是一个人的质疑和发现的态度？’
