The poor hospital

BACKGROUND This work contributes to the broad field of contemporary art through painting. The poor hospital painting was selected for a curated exhibition at the Australian Centre for Contemporary Art, examining contemporary discourses around painting. This work examines an unsettled society and ideas of self in relation to complex power structures, relating to the research of Chowdhury (2006, Interrogating "Newness": Globalization and Postcolonial Theory) and Simon (2013, Neomaterialism). This work also generally investigates the implications promoted by new materialist theorist Grosz (2008, Chaos, territory, art: Deleuze and the framing of the earth) where materiality is seen to be content. CONTRIBUTION Painting has a long history of self-reflexivity, with substantial historical precedents where questions are examined within, and through the medium. The question of what is the nature of the iconography available to painting today in a world of uncertainty forms a fundamental concern within this research, along with reflections on socialised culture. The poor hospital is also concerned with the sensory experiential implications of painting, where paintings may evoke an event through imagery and material. This research is formed through painting in order to investigate the idiom within a dialect and through reflexivity. SIGNIFICANCE The poor hospital was presented for public exhibition within an internationally recognized contemporary art space, which was visited by the general public, practitioners from the field and theorists, in turn fostering discourses around the nature of the idiom within our contemporaneity. The exhibition formed the first critical survey of contemporary painting in Australia for 15 years.

研究背景 本研究通过绘画创作介入当代艺术广阔领域。《穷医院》画作入选澳大利亚当代艺术中心（Australian Centre for Contemporary Art）的策划展览，该展览旨在探讨围绕绘画的当代学术话语。本作品旨在审视动荡不安的社会，以及个体在复杂权力结构下的自我认知，其研究脉络契合乔杜里（Chowdhury, 2006，《审视“新奇性”：全球化与后殖民理论》）与西蒙（Simon, 2013，《新物质主义》）的研究视角。此外，本研究亦探讨新物质主义理论家格罗斯（Grosz, 2008，《混沌、疆域、艺术：德勒兹与地球的框架》）所提出的核心命题，即物质性可被视为创作的核心内容。
研究贡献 绘画拥有悠久的自我反身性传统，历史上不乏以媒介自身为载体探讨各类议题的经典先例。本研究的核心关切之一，在于不确定性当道的当下世界中，绘画可依托的图像符号学本质为何，同时伴随对社会化文化的反思。《穷医院》画作同时探讨绘画的感官体验意蕴——画作可借由图像与物质媒介唤起特定事件。本研究以绘画创作为研究路径，旨在通过辩证视角与反身性创作，探究艺术话语体系下绘画专属的表现语汇。
研究意义 《穷医院》画作于国际知名当代艺术空间面向公众展出，吸引了普通民众、行业从业者与理论家观展，进而推动了当代语境下围绕绘画表现语汇本质的学术讨论。该展览亦是澳大利亚15年来首次当代绘画批判性综述展览。