在陈志光精心制作的“古戏台”中,动物、人物都消失了,只有“物”还存在。这又是一个意向不到,古戏台的出现标志着陈志光创作的一个转折:让他在材料、观念以及他个人的经历、趣味之间找到了一种对应关系,同时,他的作品也因此更加充满了厚度。首先是复制的力量,它让人们产生对近乎是无所不能的复制技术的可怕的感觉。在一个技术的,充满了工具理性的时代,复制的力量成为一种可触可摸,既真实,又虚假的现实。对一个真实的古建筑用不锈钢材料的原样复制,代表了作者内心的那种孤注一掷的狂热和做到极致的凶狠。 In Chen Zhiguang elaborate “ancient stage ”, animals, characters disappeared, only “things ” still exists. This is another intentions. The appearance of the ancient stage marks a turning point in Chen Zhiguang’s writing: he has found a correspondence between materials, concepts and his own personal experiences and tastes. At the same time, his works are even more Full of thickness. The first is the power of replication, which gives people a terrifying feeling of near-all-copy technology. In a technologically-charged era of instrumental rationality, the power of replication becomes a touchless, real and false reality. A true copy of the stainless steel used in ancient buildings represents the desperate fanaticism and extreme fierceness of the author’s heart.