在本文开始我想先描述一个借喻,即一个个岛屿散落在洋面上,一个作者来到一个岛屿上,作一番游历,然后漂移向另一个岛屿。这个描述适合了一批人,尤其是90年代初,中国艺术界的一个值得注意的现象,就是一批画家、诗人放弃了他们原来的积累和天地,开始从事装置和行为艺术。倪卫华是其中的一个。 在八十年代他写过一阵先锋诗,也搞过一阵颜料和绘画平面的实验;九十年代后,他突然做起了红盆子在上海的大街小巷散发,后来又在公共场所贴许多谁也看不懂的招贴;95年后他回到了 At the beginning of this article, I would like to first describe a metaphor of an island scattered on the ocean, an author came to an island for some travel, and then drift to another island. This description is suitable for a group of people. Especially in the early 1990s, a notable phenomenon in the Chinese art world was that a group of painters and poets abandoned their original accumulation and world and began to practice installation and performance art. Ni Weihua is one of them. In the 1980s he wrote avant-garde poetry and experimented with paints and drawing planes. After the 1990s, he suddenly started redpainting in the streets of Shanghai and later in the public places He did not understand the bill; he returned after 95 years