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作者: 原心   下跪忏悔的M - 非常日报(转贴) 2011-06-08 07:32:15  [点击:2213]

hy lau

hy lau的个人资料照片hy lau - 2011-5-31 - Google 阅读器 - 公开

























在《忏悔吧!M》文章中写道:“他跪下了!虔诚地跪下了!双膝跪地忏悔他所犯下的滔天罪行!左手放在脚上,右手捂住右胸(心)!头发与双眉如霜,双目紧闭,面部苍老凝重,表现出深重罪孽所带来的痛苦。”









  文中还认为M是“东方帝王与西方极权两种最邪恶思想的结合体,他毁灭了中华五千年的文明,屠杀了八千万的生命,无情地摧残了人性,位列于二十世纪三大杀人魔王
(M、斯大林、希特勒)之首。







他认为世界上没有神,所以无所畏惧,他自命为神,所以无所不能,无所不为。” 所以M“他应当跪在所有的中国人的面前忏悔!他应该跪在中华民族文化面前忏悔!他应当跪在人类的良知面前忏悔!”














处决耶稣-毛泽东行刑队

















《下跪忏悔的M》在“壮观与宣泄——高氏兄弟艺术展”中展出







  据了解,这个下跪的M像名叫《下跪忏悔的M》,是中国前卫艺术家高兟、高强的作品。此作品曾在2010年917日美国堪萨斯KEMPER当代艺术博物馆“壮观与宣泄——高氏兄弟艺术展”中展出,并一直持续到2011年的1月2日。













  《下跪忏悔的毛》其比例等同真人大小,在雕塑周围是一系列文革前后高氏兄弟一家的照片。据悉1968年,高氏兄弟的父亲被打为反革命,被关押二十五天后被告知他们父亲自杀身亡。








高强、高兟兄弟






  其中高氏兄弟的作品“毛小姐企图稳站列宁头上”的大型不锈钢雕塑,去年在加拿大列治文市埃尔姆桥路夹奥尔德桥路的交汇处展出时,就引来当地中英媒体竞相报道,及社区华人激烈争议。












  有网友认为,知识份子对体制与历史的抨击虽然不多,但也不少,辛辣智慧而幽默的,倒是的确少的。大多数人惟恐避让不及,其中有三种可能,一种是恐惧于被批评者的打击报复,一种是对批评者的轻蔑,一种是对批评者的批评。但高氏兄弟的批评,严格说来应该是讽刺,通过幽默和艺术,使得作品具备了丰富的想像空间,给对手留下对号入座的可能。更有网友指出:“让老猫下跪,是太抬举它!”













SARCASM AND SINCERITY




By David
Cateforis
December 7, 2010










A review of The
Gao Brothers: Grandeur and Catharsis




GaoBros_MissMao3_TwoPortraits_Dalai


Gao Brothers, (wall, from left to right) "Two Portraits of Hitler,"
oil on canvas (diptych), 157 ½" x 236 ¼”, 2008 and "Portrait of
Dalai Lama," oil on canvas, 157 ½" x 118 ¼”, 2010 and
(foreground/center) "Miss Mao No. 3," stainless steel, 98 ½" x 71"
x 59”, 2007; courtesy of the artists. Image: from the exhibition
“The Gao Brothers: Grandeur and Catharsis” at the Kemper Museum of
Contemporary Art, photo courtesy of the museum







Kemper Museum of Contemporary Art


Kansas City, Missouri

September 17, 2010 — January 2, 2011



The Gao Brothers: Grandeur and Catharsis
is
the first solo American museum show by this prominent duo of
mid-career Chinese artists who have been collaborating since 1985.
Organized by London-based independent curator Arthur Hwang with
Kemper curator Barbara O’Brien, and comprising paintings,
sculptures, and photographs, the exhibition offers a generous
sampling of the Gao Brothers’ recent work, much of it revolving
around the figure of the Chinese Communist leader Mao Zedong
(1893-1976), and alternating in tone between sarcasm and
sincerity.




GaoBros_MissMaoTryingtoPoise


Gao Brothers, "Miss Mao Trying to Poise Herself at the Top of
Lenin’s Head," stainless steel, 256" x 236 ¼" x 165 ½”, 2009, as
installed on the east lawn of the Kemper Museum of Contemporary Art
from the exhibition “The Gao Brothers: Grandeur and Catharsis;"
courtesy of the artists. Photo: David Cateforis



Like millions of Chinese of their generation, Gao Zhen and Gao
Qiang (born in Jinan, Shangdong Province in 1956 and 1962,
respectively), were deeply affected by the Cultural Revolution
(1966-1976), the movement Mao led during the final decade of his
life to consolidate his power through the persecution and, often,
execution of millions of supposed Chinese
“counter-revolutionaries.” Among the victims was the Gao Brothers’
father, Gao Wen Chen, a factory worker who was arrested in October
1968 and sent to the countryside for “re-education.”
Soon thereafter the family was told that he had
committed suicide; believing that he had actually been shot and
killed, the Gaos petitioned the government for compensation,
eventually receiving the equivalent of $290.

In recent years the Gao Brothers have exacted a measure of revenge
through their series of Miss
Mao
sculptures, begun in 2006. These images
mock the Great Helmsman by depicting him at bust length with a baby
face, a Pinocchio nose (indicting him as a liar), and shapely
breasts, making literal Mao’s identification of himself with the
motherland. Too inflammatory to exhibit in China, where the
authorities censor artwork critical of the government,
the Miss

Mao
series has been widely shown outside of
that country. It was first brought to Kansas City by
the Byron
C. Cohen Gallery for Contemporary Art
, which a few years ago
facilitated the Kemper’s acquisition of a shiny red, nearly
seven-foot-tall version of Miss
Mao
(2006; not in the current exhibition),
whose gaping mouth displays sharp incisors and a protruding tongue.
Presently at the Kemper, a Miss
Mao
appears on the east lawn outside the
museum as a small figure holding a balancing bar and standing atop
an enormous, horizontally segmented head of Vladimir Lenin.
Entitled Miss
Mao Trying to Poise Herself at the Top of Lenin’s
Head
(2009), this 21-foot tall composition in
gleaming stainless steel (dubbed “the big shiny” by the students of
the adjacent Kansas City Art Institute) demeans Mao not only by
feminizing him but also by presenting him as a puny and precarious
ornament perched atop the awesome head of the instigator of the
Russian Revolution that inspired the Chinese Communist Party.


GaoBros_StandardHair_OuterSpace



Gao Brothers, (wall, from left to right) "Standard Hairstyle — Mao
Zedong, Deng Xiaoping, Jiang Zemin, Hu Jintao," oil on canvas (four
panels), 157 ½ " x 472 ½”, 2009 and "Outer Space Project - Map of
China," chromogenic color print, 94 ½" x 115 ½”, 2008 and
(center/foreground) "Miss Mao No. 3," stainless steel, 98 ½" x 71"
x 59”, 2007; courtesy of the artists. Image: from the exhibition
“The Gao Brothers: Grandeur and Catharsis

有 1 个人顶了此项 - ash wu
Kami Hata - 不像。
2011-5-31
最后编辑时间: 2011-06-08 07:37:17

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