reflectionist

与reflectionist相关的网络例句 [注：此内容来源于网络，仅供参考]

My opinion that "art is the most political realm" is derived from the avant-garde. With Jin's Great Economic Retreat, what I want to say to them is that not all works that reflect China's realities are realist reflectionist. More importantly, what kind of works can be differentiated from "reform and open-door realist art"?

我的诸如&艺术是最政治的领域&的主张都是从前卫艺术而来的，就金江波的《经济大撤退》图片，我要回应他们的是：与中国现实社会结合的作品不全都是现实主义反映论的，更重要的是：什么样的社会作品才能区别于&改革开放现实主义艺术&？

In "Dislocated Modernity: A Retrospect on Narratives in Contemporary Chinese Art," Gao Minglu pointed out that contemporary Chinese art is characterized by the prevalence of realist reflectionist theory, including works that have made their way into the Western exhibition circuit. Specifically citing photographic works to illustrate this point, he writes that Western interest in Chinese photography is explained by their use of it to observe concrete changes affecting China. As such, in this article is an excerpt of Gao Minglu's brilliant analysis

高名潞在《现代性错位：对中国当代艺术叙事的反思》一文中提示了中国当代艺术中的一个事实，即这种艺术中普遍存在着现实主义反映论的特征，就是进入西方展览系统的中国当代艺术也主要是现实主义反映论的作品，他还特地举了图片，来说明这个问题，即西方对中国的图片关注是西方人通过这些图片来看中国现实变化，所以在这篇文章中，高名潞有一段非常精彩的论述

Much as Gao's analysis is used to critique the problems arising from the West's selection of contemporary Chinese art, the application of this realist reflectionist approach on contemporary art is also remarkably popular among critics in China today.

高名潞的这段论述虽然是用来批评西方在选择中国艺术时出现的问题，但用这种现实主义反映论来论证当代艺术的方法在中国当下的评论界也随处可见，他们把前卫艺术的介入社会，理解成反映社会，然后把反映社会现实的作品当作当代艺术，所谓的现在是数码时代，艺术要反映数码，现在是卡通时代，艺术要反映卡通，还有就是高名潞所批评的，只要在艺术中反映了一点中国的变化就是当代艺术，而其实它只是现实主义反映论的一种表现，鲁虹等人的文章都属于这一类，我称为&改革开放现实主义艺术&模式，我们看到今天的中国艺术和评论都是在这种模式中制造当代艺术的假象。

Due to Jin's use of negative shots, this series of photographs does not correspond to the realist reflectionist theory right from the very beginning. It does not reflect or present any social phenomenon. Instead, it transforms the phenomenon into a problem situation that offers and invites review. In contemporary art, to intervene society by way of negation is strategic, as can be seen in Jin's Great Economic Retreat: the images featuring empty factory buildings reveal more than that. When the enlarged photos are exhibited in a museum gallery, Jin's real question surfaces: is what post-colonial economy brought China a blessing or a curse?

金江波的这组《经济大撤退》图片由于用了否定性的镜头而使得它一开始拍摄的时候就不是现实反映论的，它不是去反映和呈现了社会的什么现象，而是将这种社会现象转换为一种问题情境，提供给人们反思，而在当代艺术中，否定性地介入社会是它的核心，就像金江波的《经济大撤退》，图片虽然呈现了空厂房，但不只是呈现了空厂房，当这些图片通过放大展示在美术馆中，那些后殖民经济对中国来说到底是喜还是忧才是金江波想要问的？