本文選題：笑話 + 機(jī)械原理��； 參考：《藝術(shù)工作》2017年05期

【摘要】：正存在于現(xiàn)代藝術(shù)之中的鬧劇,可以追溯到達(dá)達(dá)對(duì)無(wú)聲喜劇和早期動(dòng)畫(huà)特技的迷戀�！獋惏汀たㄌ乩锇鸵宦晣樀萌藛】跓o(wú)言的巨響回蕩在紐約格林納夫塔利畫(huà)廊的格里廷"秋季展覽"上,來(lái)訪者的腳踩到了雕塑底座上的杠桿,頓時(shí)雕塑飛將起來(lái)四處散落在地板上。這些作品已經(jīng)破碎,如果沒(méi)有人把它們放回去,它們就會(huì)永遠(yuǎn)躺在那里。這種混亂是通過(guò)人工機(jī)械原理有意制造出來(lái)的。在朱迪思·霍普夫的視頻《萬(wàn)物的終結(jié):青春的概念》(2011年)中,一只雞生了一個(gè)蛋。然后,這個(gè)場(chǎng)景轉(zhuǎn)換到一個(gè)穿著雞蛋服裝的男人穿過(guò)地下通道,試圖進(jìn)入一個(gè)玻璃鋼建筑的矩形門(mén),這座建筑是
[Abstract]:The farce that exists in modern art, It can be traced to Dada's fascination with silent comedies and early animation stunts. -Lomba Katriba reverberates to the Greting fall Show at the Tarly Gallery in New York. The visitor's foot stepped on the lever on the base of the sculpture and the sculpture flew around the floor. These pieces are broken, and if no one puts them back, they will lie there forever. The confusion was deliberately created by artificial mechanical principles. In Judith Hopf's video the end of everything: the concept of Youth (2011), a chicken lays an egg. And then, the scene is converted to a man in egg clothing walking through an underground passage, trying to enter the rectangular door of a fiberglass building.
【分類(lèi)號(hào)】：J905

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