摘要
林珉旭那一代艺术家的作品呈现出这样一种倾向:回避以抵抗和组织的方式对政治议题做出直接回应。相应地,在韩国以及东亚其它地区,越来越多的艺术家和创意工作者们开始通过娱乐化、个性化和戏谑的方式进行社会活动。
Among artists of Minouk Lim’s generation, there is a turn away from a hard understanding of politics to be met with resistance and organizing. Instead, in Korea and across east Asia, artists and creative people increasingly turn towards a version of activism that embraces pleasure, style, and fun.
出处
《艺术界》
2018年第1期192-195,共4页