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2013年12月在美国纽约大都会艺术博物馆举办的“水墨艺术”大展,标志着以水墨文脉为背景的中国当代艺术彻底走向自身在国际艺术场域中的巅峰时期。理性分析这一事件需要从三方面加以厘清:首先,深受传统儒家道家思想影响的水墨艺术在本质上决定了其具有一种“表达自我本质”的继承性和表现性特征,这种特征无意间对西方策展逻辑进行了“预设”;其次,中国立场中对水墨“创新”的焦虑以及对传统的“反叛”行为反而使得作品回归到了“表达自我本质”这一传统水墨精神内核;第三,建立在“逻各斯中心主义”基础上的西方策展逻辑使得其扬弃了对传统水墨的重视,而仅对“表达自我本质”的水墨精神加以关注,这更加符合其自身后现代的“表现性”经验立场。这三方面的共同作用才使得“水墨”这一主题成为了当今国际艺术领域中文化交流的热点之一。
The “Ink Art” exhibition held at the Metropolitan Museum of Art in New York in December 2013 marks the beginning of a period when Chinese contemporary art, with its background of ink and wash, went completely into the international art arena. Rational analysis of this incident needs to be clarified from three aspects: First of all, deeply influenced by the traditional Confucianism Taoist ink art essentially determines its inheritance and expressiveness of a “self-expression nature” The feature inadvertently prefigured the logic of the Western curatorial logic. Secondly, the anxiety toward ink and innovation in the Chinese position and the rebellion against the traditional led to the return of the work. Essence “of the traditional ink and wash spirit core; thirdly, the logic of western curatorial logic based on the” logos centrism “has abandoned its emphasis on traditional ink and wash, ”The ink and wash spirit, which is more in line with its own postmodern “ performance ”experience and position. The synergy of these three aspects has made the theme of “Ink and Wash” one of the hot topics of cultural exchanges in the international art field today.