| 英文摘要 |
The sculptural object occupies the same space that a human body does-we encounter it as we encounter one another, within the reality of space as we experience it. On a larger scale, and when intended for permanence, sculptural form becomes a landmark, and displacing more than space, it is a significant factor in place making. Emplaced thus, it also stakes a claim on time, tending towards timelessness, as memorials and historical monuments tenaciously hold on to their place in the present, and moor in our cultural consciousness. And nothing seems to rightfully occupy space and timelessness more than embodiments of the ideals of“Beauty,”where the quest for“Truth”is often conflated. Ancient sites and works of art marked by these ambitions, are in our present time considered as part of the world’s cultural heritage, and continue to fascinate and hold us in thrall. Ensconced in our minds- alluded to by Lao Tzu as the“mysterious mirror”- is a space that is haunted by seemingly timeless ideals of beauty and truth, ideals that regulate the evaluation and judgement of the self, the other, nature and art. Despite radical paradigmatic shifts of perspective in the contemporary art world,“Beauty”lingers on as an imperative, and we continue to contend with expectations of“perfection”- both in art and the human form. However, only the ethereal and ambiguous concept of beauty is timeless, and not necessarily the era-bound perspectives of what might constitute beauty, as consensus for what is“beautiful”constantly shifts. And then, there’s“Power.”No doubting that being in the presence of beauty is a powerful experience: it seems to transcend the ugly fact that the pursuit of beauty at all costs can be quite a grotesque and disenchanting process indeed. |
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