From clutter to modern art: a Chinese artist's perspective on hoarding behaviors.
From clutter to modern art: a Chinese artist's perspective on hoarding behaviors.
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从杂乱到现代艺术：一位中国艺术家对囤积行为的看法。
DOI：
10.1176/appi.ajp.2011.11091414
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发表时间：
2011
期刊：
影响因子：
--
通讯作者：
Rodriguez,Carolyn
中科院分区：
文献类型：
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作者：
Alcon,Jehanny;Glazier,Kimberly;Rodriguez,Carolyn
2009年的展览《不浪费》是中国著名当代艺术家宋冬和他的母亲赵香媛的艺术合作作品，宋冬在纽约现代艺术博物馆的中庭精心布置了他童年时杂乱的家中的全部物品。这个巨大的艺术装置由 10,000 多件磨损、破损和未使用的物品组成，这些物品对其他人来说似乎几乎没有价值或没有价值。这些物品是赵女士（宋先生的母亲）收集并保存的。 “不浪费”活动于 2005 年首次在北京创立，此后足迹遍布韩国、德国、英国以及美国。文化和历史因素促成了“不浪费”的诞生。首先，勤俭节约是中华民族的传统美德。正如宋先生所描述的，“‘无尽其有’是我母亲的人生准则，也是整整一代中国人的写照”(1)。其次，宋先生的父母是在中国文化大革命的贫困和恶劣环境中长大的，当时储蓄是一种自我保护的行为。然而，随着童年时期生活条件的改善，宋先生注意到，即使那些东西明显变得没用了，他的母亲也不愿意扔掉它们(1)。尽管最初是受到贫困和文化条件的驱使，但2002年丈夫突然去世后，赵女士丢弃物品的困难加剧了。她的孤独激发了她用对丈夫的回忆包围自己的渴望。结果是他们的小房子里的“每一寸空间”都被填满了(1)。宋先生越来越担心母亲，但在中国人的孝顺精神中长大，他找到了解决办法，与母亲合作创作了这个装置。
For the 2009 exhibit Waste Not, an artistic collaboration between well-known contemporary Chinese artist Song Dong and his mother, Zhao Xiangyuan, Mr. Song carefully arrayed the entire contents of his cluttered childhood home in the atrium of the Museum of Modern Art in New York. This massive art installation was made up of over 10,000 worn, broken, and unused objects that would seemingly appear to have little or no value to others. The objects had been collected and preserved by Ms. Zhao (Mr. Song’s mother). First created in Beijing in 2005, Waste Not has since traveled to South Korea, Germany, and England, as well as the United States. Cultural and historical factors contributed to the genesis of Waste Not. First, frugality is a traditional Chinese virtue. As Mr. Song describes,“‘Wu jin qi youg’[translation:“Every resource should be used fully and nothing should be wasted”] is the guideline of my mother’s life, but it is also the portrayal of a whole generation of Chinese people”(1). Second, Mr. Song’s parents grew up during the deprivation and harsh environment of the Chinese Cultural Revolution, when saving was an act of self-preservation. However, as living conditions improved during his childhood, Mr. Song noticed that his mother became reluctant to throw things out even when they had clearly become useless (1). Although she was initially driven by poverty and cultural conditions, after the sudden death of her husband in 2002, Ms. Zhao’s difficulty in discarding objects intensified. Her loneliness fueled her desire to surround herself with memories of her husband. The result was that “every inch of space” in their tiny home was filled (1). Increasingly worried about his mother, but raised in the Chinese spirit of filial obedience, Mr. Song found a solution by collaborating with his mother to create the installation.“I thought of another way to show her my concern: to exhibit her life, her things, her philosophy: to use the principal of ‘waste not’together