摘要
陈卫闽在过去一直被认为是一个自我边缘化、有着微观历史叙事和对现实有着沉重反思批判态度的艺术家。而近期的陈卫闽好像对于“物”在现实生活中的符号和对应关系充满了更多的关注和思考。历史的土壤和现实催生了陈卫闽作品的视觉样式,他试图在历史的土壤中去找出不同于乡土记忆和伤痕绘画的一种言说形式,在表现主义中去找出一种对历史和正在发生的现实叙事,对物和形象的筛选和绘制也正是陈卫闽的工作和价值所在。
Chen Weimin was considered as a self-marginalized artist with micro historical narration and criticism towards reality. Recently, Chen Weimin seems to pay more consideration and reflection on symbols of ＂object＂ in real life and corresponding relation. Historical soil and reality boost the visual pattern, and he tries to find a narrative pattern different from countryside memory and scar painting, a realistic narration of history and something happening now in expressionism, also, the selection and painting of objects and image are value and work of Chen Weimin.
出处
《当代美术家》
2016年第6期58-62,共5页
Contemporary Artists
关键词
静物
表现主义
叙事
Static object, Expressionism, Narration
