Li Yuan-chia’s Cupboard of Slides
Li Yuan-chia’s Cupboard of Slides
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李元嘉的幻灯片柜
DOI：
10.1080/09528822.2018.1437890
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发表时间：
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期刊：
影响因子：
0.2
通讯作者：
Susanne Neubauer
中科院分区：
文献类型：
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作者：
Susanne Neubauer
这篇文章试图详细阐述幻灯片作为一个对象，由于其在不同的文化领域的“物”的impermeability方面-能够跨文化的“迁移”。我想举一个例子来说明这种方法，这是英籍华人艺术家、策展人和诗人李元甲（1929-1994）的作品，他拍摄了许多令人惊叹的幻灯片，这些幻灯片在他去世后在他的家中被发现。我的研究重点是应用于这些多维对象的不同实践-特别是当选择回顾性展览，并以改变的形式呈现。本文试图回应和检查的想法，即意义归因于（西方）文化背景的展览中的（西方）物体，以及像幻灯片这样的物体，传统上被视为西方文化和交流的成就，也可以提出质疑我们的展览实践的语境框架的过程。
This article seeks to elaborate on the immanent aspects of the slide as an object that – due to its ‘thingness’ in different cultural realms – was able to ‘migrate’ transculturally. The example I would like to present for this approach is the work of the British Chinese artist, curator, and poet Li Yuan-chia (1929–1994), who took a number of astonishing slides, which were found in his house after he died. My research focuses on the different practices applied to these polydimensional objects – especially when selected for retrospective exhibitions, and presented in an altered form. This article seeks to respond to and examine the idea that meaning is attributed to (Western) objects in exhibitions of a (Western) cultural background, and that objects like slides, traditionally seen as an achievement of Western culture and communication, can also propose processes that question the contextual framings of our exhibition practices.