架上雕塑的文化角色、市场及问题(对话)

Sculpture on Shelf and Its Cultural Role,Market and Problem

架上雕塑的公共性和城市雕塑的公共性,肯定是两个完全不同的概念。我们先说架上雕塑,给它一个架上雕塑的定义,还是延用架上绘画的那种,所以说这一部分雕塑又有实验性。当下性是什么,我觉得我们架上雕塑的当下性比较大的还是有一个实验性。

Chamber Sculpture and its cul-tural role and publicity Xu Baozhong: In general, the sculpture on self is relatively pure and simple with less constraints. This publicity is not the one which you foree others to accept. When you do very sanity, you may neglect what the others might react on you. You can is-sue your feelings, your emotions within your economic capacity, regardless of any social result or constraints. Tan Yun: The dilemma of the self sculp-ture is not a problem of market, but of a culture. What we do is by the individual's research, of academic one or others, no matter is of avant-garde or experimental nature. You can express the immediate culture according to the possibilities of the sculpture itself and the possibilities of the cultural expression, a culture which China concerns amid the cultures in the world. Deng Le: Chamber sculpture has its own publicity. In the public lime, your art must be shared with the public instead of your own ideal circle, nor the laboratory in which you make your daily experiments. When you have a developed idea or con- cept about the space, you will get yourself through. You will find you are influencing your public in a wider space.Sculpture and Its features of Consumer's marketTitn Yun:In the point of the historical de-velopment of sculpture, it has a strong so-cial utility function What we are referring to the city sculpture, it has not only the function of culture and spirit expression but the practical untility where it is needed Zhu Cheng:The existence reason for the shelf sculpture lies in its isolate and alien state, of a state of solitude, self-entertain-ment. Because of those properties, it just reasons its existence. It relects mainly the public and humans, but mostly the maker himself.the fabrication of sculpture, hu-man spirit and critique guide Zhu Cheng:The crities have made some negative intluence about sculpture circle. They sometimes stress too much on the experimental works or of cultural signifi-cance. The fabrication of sculpture works in China is too rough. A rough work origi-nates no humanity out of it. The an works ans articles should have their taste, their quality and of course the personal quality by which it was made. Lin Chunrao: What we choose here and the theorists talked more is more of the per-sonal experience, I feel that many of our young sculptors arc more concerning about it. Experiment is not just an experiment. An experiment is for a more public in a wider space. This is the real problem that we must attach ourselves to.