如何根据单词储备量选择gre书（DouglasCoupland才不屌你）

小君 2023-09-06 16:21:16 770

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）不过，Coupland自己才享受到最多的乐趣。在皇家安大略博物馆的展览中，涉及艺术和建筑活动的内容是以标题结尾处斜体加星号来标明的（我找不出这些星号大概所指的定义是什么），有一股说教的意味。整个展览中最任性的要属《The Brain》了，作品本身告诉我们，那是 “野兽派” 的结构样式设计，包含着“二十和二十一世纪颇具影响力的建筑风格，以及大量漆成白色的企业吉祥物”，暗示了“结构、梦想以及现代主义对于艺术家思想的深远影响”。我们并没有真正学习到了什么，除了感受到Coupland学习文化的痴迷程度。可为什么我们还愿意去了解呢？碰到Coupland的作品，那感觉像是蹒跚学步的孩子被粗心的妈妈落在了“查克芝士”快餐店（Chuck E. Cheese）的塑料球堆里。挺有趣，也够好玩儿。Douglas Coupland，the BrainDouglas Coupland，Gumhead同时Coupla

#前情提要#

（密集恐惧症的人，请带上墨镜）

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(1)

Douglas Coupland，Gumhead

Also like a curator Coupland is intently aware of how and why art is consumed. His work can be cringingly self-conscious in this respect desiring to be looked at to look good to radiate awareness of being looked at and looking good. (It is predictably widely collected.) Coupland encourages public participation even crowd-sourcing some of his work. At the Royal Ontario Museum smartphones are part of the art with certain works completed only when viewed through a screen. At Holt Renfrew down the street Coupland exhibits Gumhead a large sculpture of his head to which people are asked to stick gum. Gumball machines are provided adjacent to Gumhead as well as Kleenex and Purell presumably because of flu season and germs. The oozing measles-like appearance of the head with gum is intentional and in the context of a high-end fashion boutique hilarious.

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(2)

Douglas Coupland，Gumhead

同时Coupland也像个策展人一样，非常明白艺术是怎样以及为何被消费的。他的作品在这方面可能是畏畏缩缩、不太自然的，想被关注、要看上去还不错，并时不时流露出这样的意思。（可以料到，作品是被广泛收藏的。）Coupland鼓励公众参与，甚至将“集体智慧”带入到他的一些作品中。在皇家安大略博物馆（译注：Royal Ontario Museum，简称ROM），智能手机是艺术创作的一个环节，某些作品的完成只有通过屏幕查看才可以。在Holt Renfrew（译注：加拿大最大的奢侈品连锁商店）街边，Coupland展出《Gumhead》作品这是以他的头像做成的巨大雕塑，让人们在他的头上黏上口香糖。《Gumhead》的旁边就有口香糖贩卖机，还提供了纸巾和洗手液，大概是到了流感季，怕细菌感染的缘故。这个像患上麻疹，外表渗出分泌物、又粘着口香糖的头，当然是有意而为之的，把它放在周边都是高端时尚精品店的环境里，真是太好笑了。

Coupland is having the majority of the fun however. In the ROM’s didactics movements in art and architecture are italicized with asterisks at their ends (I couldn’t find the definitions to which these asterisks seemed to refer). When a voluble didactic in the exhibition’s most self-indulgent section The Brain tells us that a structure is “built in a Brutalist Style*” and contains “scale models of influential 20th and 21st century buildings as well as numerous corporate mascots painted white ” which “speak of structure and dreams and the impact of modernism’s sensibility deep in the artist’s mind ” we are not actually learning about anything other than Coupland’s cultural-studies obsessions. Why would we want to? Encountering Coupland’s work can make one feel like a toddler dropped by a negligent mother into a pit of plastic balls at Chuck E. Cheese’s. This is “fun” fun “funny” funny.

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(3)

Douglas Coupland，the Brain

不过，Coupland自己才享受到最多的乐趣。在皇家安大略博物馆的展览中，涉及艺术和建筑活动的内容是以标题结尾处斜体加星号来标明的（我找不出这些星号大概所指的定义是什么），有一股说教的意味。整个展览中最任性的要属《The Brain》了，作品本身告诉我们，那是 “野兽派” 的结构样式设计，包含着“二十和二十一世纪颇具影响力的建筑风格，以及大量漆成白色的企业吉祥物”，暗示了“结构、梦想以及现代主义对于艺术家思想的深远影响”。我们并没有真正学习到了什么，除了感受到Coupland学习文化的痴迷程度。可为什么我们还愿意去了解呢？碰到Coupland的作品，那感觉像是蹒跚学步的孩子被粗心的妈妈落在了“查克芝士”快餐店（Chuck E. Cheese）的塑料球堆里。挺有趣，也够好玩儿。

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(4)

“查克芝士”快餐店内景

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(5)

Douglas Coupland，the Brain

There are times when it is plainly in bad taste. Coupland’s 9/11 works are among the smartphone-activated ones: hold up your screen and see a couple (“the lovers”) or a single figure (“the poet”) falling to their deaths. There is also an Epcot Center–like maquette of the twin towers an elegy for prelapsarian Modernism. The application of a cold-hearted slacker sensibility to the precise moment when it died might be tragically resonant but I doubt this is the intention. Coupland seems confident that Pop’s provocative imagistic detachment is the right approach when all successful 9/11 art proves him wrong: Eric Fischl’s sculptures of twisted bodies as they fell to the ground; Paul Chan’s masterful shadow projection of descending forms; Thomas Ruff’s large-format composite and digitized photographs of Ground Zero; and of course the vernacular art affixed to Lower Manhattan fences during late 2001 commemorating the lost and inquiring after the missing. In all this there is classical hauntingas well as emotional fragmentation.

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(6)

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(7)

Coupland反映911的作品

有时候（Coupland）品味明显很糟糕。Coupland反映911的作品是通过智能手机激活得以呈现的：举起你的屏幕，看到一对夫妇（“恋人”）或是单独一个人（“诗人”）坠楼身亡，也有双塔楼一样的未来中心（Epcot Center）的模型，天真无邪宛如一曲现代主义的挽歌。一个在精确时刻就消亡的冷心懒汉应用可能引起悲剧性的共鸣，不过我怀疑这共鸣是刻意的。Coupland似乎对于波普争议性冷漠超然的风格很自信，认为那是对的，而所有成功的911艺术作品证实他是错的：Eric Fischl坠落在地上的身体雕塑；Paul Chan（陈佩之）高超的影子计划；Thomas Ruff的大型复合材料和归零地（Ground Zero）数字照片；当然还有2001年末期间贴在曼哈顿下城栅栏上的乡土艺术，诉说着对逝去的追思。在这一切里，有萦绕心头的经典作品，也有激起心中千层浪的零星点滴。

如何根据单词储备量选择gre书（DouglasCoupland才不屌你）(8)