摘要
在位于新加坡古德曼艺术中心的工作室里的一个夜晚，艺术家赵仁辉守着一盏灯，捕获了150只扑向它的昆虫。这个如同清代沈复写在《浮生六记》里“作青云白鹤观”一般诙谐的画面，之于素帐留蚊的小儿是“童趣”，而在被赵仁辉称作“动物学家评论学会”的工作室中，这是艺术家所做的众多“博物学”实践中的一幕。
Standing in his studio at Goodman Arts Centre in Sin- gapore one night, Robert Zhao Renhui collected 150 insects that had flown into his lamp： a scene worthy of the whim- sical playfulness of Shen Fu, author of the Qing classic Six Records of a Floating Life, when he looked at mosquitoes and saw ＂white cranes soaring through blue clouds.＂ The image may seem childish, but at Zhao＇s studio, which he calls the Institute of Critical Zoologists, it＇s just a day in the life of the artist as naturalist.
出处
《艺术界》
2015年第2期214-215,共2页
