No informed conversation about the development of Chinese performance art can bypass Sheng Qi, whose work remains unusual, brave and adventurous. By 1986 he had already thrown himself into a pioneering practice, working in symbolic locations including Peking University (1986), the Yuanmingyuan (1987) and on the Great Wall (1988). Those seminal events were important contributions to a young field, and looking back at their documentation, readers will feel Sheng Qi's passion for art and for the intense cultural transgression his works represented in their time. More recently, he has begun with portraits of children in a rigorous academic painting style, and through their "destruction" and "revision," constructed a painting language that explores the aesthetics of violence and criticism, and their commonalities.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
因為裝幀牛逼(前麵半透紙的段落漸變太正瞭!)，看瞭之後發現此人也牛逼(切手指啊血淚畫)。
评分因為裝幀牛逼(前麵半透紙的段落漸變太正瞭!)，看瞭之後發現此人也牛逼(切手指啊血淚畫)。
评分因為裝幀牛逼(前麵半透紙的段落漸變太正瞭!)，看瞭之後發現此人也牛逼(切手指啊血淚畫)。
评分因為裝幀牛逼(前麵半透紙的段落漸變太正瞭!)，看瞭之後發現此人也牛逼(切手指啊血淚畫)。
评分因為裝幀牛逼(前麵半透紙的段落漸變太正瞭!)，看瞭之後發現此人也牛逼(切手指啊血淚畫)。
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