当我注意到那些不分国家、地域,不断出现的以顽固地怀恋童年逃避成长的作品,我不得不反省这是不是一种具有典型性的创作出发点,尤其女性更明显——虽说这个谈话和性别无关。成长有很多痛,最主要的就是进入险恶的成人世界,这不是转换频道那么容易,所以需要奶嘴、毛巾一样效用的对童年、青春岁月的舔食这贴奏效的精神安慰剂。这里面有很多隐性的因素可以讨论。李欢以一组被命名为《看不见的娜拉》的技术特殊的木板版画引起大家注意,当技术、语言、题材刚好同时到位时,我们不得不承认这是种初出道者的幸运,更是天分,尤其是版画这种在当代艺术里式微的媒介,所以我们也讨论了关于版画的属性和去向问题。也许技术、记忆都不过是个体的偏执,是我们需要的管道,抵达自我的内部。 When I noticed that there are no different countries, regions, emerging to stubbornly cherish childhood to escape the growth of the work, I have to reflect on this is not a typical starting point of creation, especially women more obvious - although this talk and Sex has nothing to do. Growth has a lot of pain, the most important thing is to enter the sinister adult world, this is not so easy to change channels, so the need for pacifiers, towels, the same effect on childhood, youth licking this sticky spiritual placebo. There are many hidden factors to discuss. Li Huan drew attention to a group of technologically special woodblock prints entitled “Invisible Nora,” and when technology, language, and subject matter came up at exactly the same time, we had to admit that it was a lucky person who was an early debutant, Talent, especially printmaking, is a subtle medium in contemporary art, so we also talk about the attributes and whereabouts of prints. Perhaps technology and memory are but individual paranoids, the pipework we need to reach inside ourselves.