
HF:我想关键词这个项目更多是从你个体实践的角度,去寻找一种理解当下情境并参与当下的方式,而语词作为一种作品材料,是关键性的材料,它将意识的流动和整个社会的变化联系起来。
XT:对,你说的这个“联系起来”,我觉得这是一个非常要紧的概念。Hans Ulrich Obrist曾经问过我,你这样做和西方的概念艺术的差异在什么地方,我觉得这是一个很重要的问题,因为这涉及到我们对概念艺术的理解,而我觉得,发生于七十年代的概念艺术,它带来的概念自身的游戏比较重,而我们这个时代和概念游戏相关的这些活动,都是在语言学转向之后的工作,更多地跟概念的背后,跟决定概念的内容有着更密切的关系……
HF:I think the topic of keywords comes a lot from your perspective in your personal practice, to look for a kind of immediate understanding of the situation as well as a way of participating in it at once. Words are therefore regarded as a sort of crucial material for your work. They link up the flow of consciousness with changes in the society as a whole
XT:Yes, I feel that this “linking up” which you speak of is an urgent and essential concept. Hans Ulrich Obrist once asked me, what is the difference between what you do and Western conceptual art? I think that this is a very important question because it compels us to consider our understanding of conceptual art. For me, I reckon that conceptual art of the 70s placed more importance on the play within the concept itself, whereas for us today, our game with conceptual notions deals more with linguistic games……
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