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本文回应了王建疆教授提出的“别现代主义”理论,并以此批驳了西方艺术评论界对中国当代艺术的成见。后现代根植于西方思维框架,因而无法准确地描述中国多重历史维度混杂的现状。安迪·沃霍尔与中国当代艺术作品虽有相似的外观,但却指向迥然不同的意义。前者通过将情感从图像中剥离,构建出创作者与其表现主题的间距;后者则通过对既往艺术风格的反讽式运用,展现出前现代、现代与后现代同处共时空间的别现代特质。因此,必须借助一种能够厘清中西差异的理论方法,以区划出形成中国当代艺术作品“别现代”特质的复杂历史层级。中国学者应当致力于开掘这一理路,以促使西方评论界更好地了解中国当代艺术。在当下学术语境中,我们需要正视中西思想观念的差异性,认真聆听来自中国的理论声音,注重来自中国本土的主义。
This article responds to the theory of “No Modernism” proposed by Professor Wang Jianjiang and refutes the stereotypes of Western art critics over Chinese contemporary art. Postmodernism is rooted in the framework of western thinking and therefore can not accurately describe the mixed status quo of China’s multiple historical dimensions. Andy Warhol has a similar appearance to Chinese contemporary art but points to a very different meaning. The former constructs the distance between the creator and his performance theme by peeling off the emotion from the image. The latter, through the ironical use of the past artistic style, shows the non-modern characteristics of the co-existence space of the pre-modernity, the modernity and the post-modernity. Therefore, we must rely on a theoretical method that can clarify the differences between China and the West so as to distinguish the complex historical hierarchy that forms the characteristic of Chinese contemporary art “no modern ”. Chinese scholars should devote themselves to digging this road so as to promote a better understanding of Chinese contemporary art by Western critics. In the current academic context, we need to face up to the differences between Chinese and Western ideas and concepts, listen carefully to the theoretical voice from China, and pay attention to the doctrine originated in China.