“论概念艺术后的句子”艺术展

公司：	Petr Dub	类型：	室内
地区：	捷克共和国	标签：	艺术装置

项目“论概念艺术后的句子”知识语言和知识学说之间的桥梁。索尔·勒维特的《论概念艺术的句子》最初出版于1969年，成为现代主义理解艺术的标志性文本。一个比喻的文本，因为它与一个全面的，首先，理性主义的指导，如何理解和解释概念艺术相混淆。除了专业的认同之外，原著还涉及非理性、主体性和神秘主义等概念。它本身是激进的，但它留下的遗产却变得极端。由于索尔·勒维特的句子，概念转向经常被解释为一种新信仰的诞生和前艺术的毁灭。

Sentences after Conceptual Art represent a bridge between the language of knowledge and the doctrines of knowledge. The original Sol Lewitt’s Sentences on Conceptual Art, first published in 1969, became an iconic text for the modernist understanding of art. A text as figurative as it is confused with a comprehensive and, above all, rationalist instruction on how to understand and interpret conceptual art. In addition to professional agreements, the original text also works with the concepts of irrationality, subjectivity and mysticism. It is radical in itself, while its legacy has become extreme. Owing to Sol Lewitt’s Senteces, the conceptual turn is frequently interpreted as the birth of a new faith and the destruction of former art at the same time.

今天，我们比历史上任何时候都更加生活在一个图像迅速诞生和很快消失的时代。作为回应，有人认为，数兆兆字节的杂乱数字数据、令人昏昏欲睡的电视屏幕和无穷无尽的社交网络图像流都面临着信仰。不一定是圣经里所有的寓言，宗教对世界的解释或对善恶的忏悔，但仅仅是对文本功能的信心，它能够创造一个全面和连贯的思想。一种信仰，在这种信仰中，一个词包含可以阅读、理解、解释和分享的意义。安布罗斯神父对教会的干预就是这场斗争的一部分。它是侵入性的，但是暂时的。它寄生在教堂的建筑和功能上，同时为其空间提供了一种超越物理场所的新服务。项目考验着我们的注意力，考验着我们对图像力量的承受能力，考验着我们是否愿意相信艺术幻觉的意义。

More than ever before in history, we live today in a time of rapidly born – and soon disappearing images. As a response, it is suggested that terabytes of digital cluttered data, the hypnotic grain of television screens, and the never-ending stream of hypertrophied images of social networks are faced with faith. Not necessarily all parables of the Bible, the religious struggle for the interpretation of the world or the confession of good and evil, but simply the confidence in the function of a text capable of creating a comprehensiveness and coherence of thought. The faith in a system in which a word contains meanings that can be read, understood, interpreted, and shared. The intervention in the Church of Priest Ambrose demonstrates part of this struggle. It is invasive but temporary. It parasitizes on the architecture and function of the church yet providing its space with a new service beyond the physical place. Sentences after Conceptual Art test our attention, our ability to withstand the power of the image, and our willingness to believe in the meaning of artistic illusion.