现场没有现成品，也没有政治符号，而是一个个源于直觉虚构的不明的“晦暗物”。正是这些“晦暗物”，既解放了物本身，也解放了我们的认知。“方形”贯穿了其艺术实践，王强几乎所有的作品都以“方形”为造型基准或形式语素，同时，他所有的怀疑和不确定感又都是以高度确定的“方形”为基本参量。这也意味着，他的实践并不止于主体的让渡和感知的解放，他更希望通过轻与重、虚与实、坚固与脆弱、混乱与秩序等多重辩证关系的繁复交织，衍生更多基于怀疑、自反的认知潜能和想象空间。
鲁明军
There are no readymades here, nor any political signs. Instead, there are a series of inscrutable “dark objects” rooted in intuitive constructs. These “dark objects” have liberated things themselves, and liberated our own cognition. Looking back, we find “squares” throughout Wang Qiang’s artistic practice. Virtually all of his works employ the “square” as a basic measure or formal morpheme. Meanwhile, all of his doubt and uncertainty seems to have the highly certain “square” as a fundamental reference. This implies that his practice is not limited to the transfer of subjectivity or the liberation of the senses. Instead he hopes, through various dialectics such as light and heavy, emptiness and fullness, solidity and fragility, and chaos and order, to give rise to more cognitive potential and imagination space rooted in skepticism and reflection.
Lu Mingjun
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《集装箱》 |
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《1:2000的一条轮廓线的直线距离大约是…… 》
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