123,123,123

內(nèi)容簡(jiǎn)介

　　藝術(shù)家的思考取決于“意識(shí)的覺(jué)醒”，而“意識(shí)的覺(jué)醒”的裂變過(guò)程和形式表達(dá)又必然扎根于對(duì)當(dāng)下的思辨和對(duì)未知領(lǐng)域的探索。“未知之城”展覽試圖走出常人眼中當(dāng)代藝術(shù)的晦澀與清高，用更為直觀的、充滿(mǎn)想象力的、激發(fā)思考的藝術(shù)語(yǔ)境，揭示存在于藝術(shù)作品中的思想沖擊和哲學(xué)意識(shí)。展現(xiàn)當(dāng)代藝術(shù)在追求自我、創(chuàng)新的藝術(shù)表達(dá)方式的同時(shí)，正以更為積極的姿態(tài)尋求與觀眾思想的共鳴?！拔粗恰闭褂[圍繞“物語(yǔ)”“呼吸”“樂(lè)園”三個(gè)核心要素展開(kāi)。對(duì)物質(zhì)欲望的深刻冥想、對(duì)生存法則的哲學(xué)思考、對(duì)未知世界的覺(jué)醒頓悟，分別代表“未知之城”中的物質(zhì)與索取、生存與規(guī)則、行為與結(jié)果的藝術(shù)解讀。如果說(shuō)“物語(yǔ)”中的單件藝術(shù)作品表達(dá)了藝術(shù)家對(duì)人類(lèi)欲望索取的具象體察和意象對(duì)峙，那么在名為“深呼吸”的整體情景造型藝術(shù)裝置中，藝術(shù)家則進(jìn)一步以“呼吸”來(lái)隱喻。吐故納新不僅是肌體的需求，也是城市繁榮的自然法則。但誠(chéng)如“老子”所說(shuō)“綿綿若存，用之不勤”，生命是天、地、人的相互關(guān)系，陰陽(yáng)平衡的過(guò)程，過(guò)度的放縱、無(wú)節(jié)制地濫用，必將使生存環(huán)境處于無(wú)序且更無(wú)奈的窘境。展覽的最終，當(dāng)你進(jìn)入藝術(shù)家為本次展覽度身創(chuàng)作的“可以窺探未來(lái)世界的—個(gè)人樂(lè)園”，你會(huì)發(fā)現(xiàn)在所謂的“未來(lái)鏡像”中充斥自己的身影，道出了“我行即未來(lái)—未來(lái)城市的景象取決于我們當(dāng)下的行為”的*思考?！拔粗恰闭褂[中的所有藝術(shù)作品均由同濟(jì)大學(xué)建筑與城市規(guī)劃學(xué)院教師、藝術(shù)家于幸澤博士創(chuàng)作。這也是繼上海城市規(guī)劃展示館策劃的“當(dāng)藝術(shù)遇見(jiàn)鄔達(dá)克”（國(guó)外建筑師與上海的人文精神對(duì)話展）和“空中讀城”（上海學(xué)者李振宇教授與世界城市的空中影像對(duì)話展）之后的，青年藝術(shù)家思辨城市的當(dāng)代藝術(shù)對(duì)話展。不同年代的人物，展現(xiàn)同樣的執(zhí)著；不同文化的差異，追求同樣的夢(mèng)想；不同身份的居民，創(chuàng)造同樣的精彩；不同展覽的語(yǔ)境，詮釋同樣的話題—是城市塑造了我們，是我們改造著城市，城市因我們而生動(dòng)……

作者簡(jiǎn)介

　　于幸澤，1976 生于中國(guó)遼寧岫巖，畢業(yè)于中央美術(shù)學(xué)院。

圖書(shū)目錄

自述 ···················································· 1

作品 ·················································· 11

開(kāi)啟/繪畫(huà) ············································ 12

旋轉(zhuǎn)/繪畫(huà) ············································ 18

遙遠(yuǎn)的星球/繪畫(huà) ···································· 24
凝固的空間/繪畫(huà) ···································· 32
凹/繪畫(huà)裝置 ········································· 40
懸/繪畫(huà)裝置 ········································· 50
要有光/繪畫(huà)裝置 ···································· 58

深呼吸/繪畫(huà)裝置 ···································· 70
2340個(gè)洞/繪畫(huà)裝置 ································· 86
狂想曲/裝置 ········································· 98
個(gè)人樂(lè)園/互動(dòng)裝置 ································· 108
最佳猜測(cè)/影像 ······································ 122
對(duì)談 ················································ 129
未知之城—與禪學(xué)藝術(shù)研修者劉逸鴻對(duì)談 ······ 130
附錄 ················································· 163
后記 ················································· 174
Contents

Personal Statement 1·········································· 1
Artworks························································· 11
Beginning/ painting ·············································· 12
Whirling/ painting ················································· 18
Distant Planet/ painting········································· 24
Solidified Space/ painting······································· 32
Concave/ painting installation·································· 40
Hanging/ painting installation·································· 50
Let there be light/ painting installation························ 58
Deep Breath/ painting installation····························· 70
2,340 holes/ painting installation······························ 86
Rhapsody/ installation·········································· 98
Personal Paradise/interactive installation ·················· 108
Best Guess/image ············································ 122
Dialogue······················································· 129
X City—Dialogue with Liu Yihong, Zen Arts Seminar····· 130
Appendix······················································ 163
Postscript····················································· 174