80年代以来当代艺术中的书法实践,更多是作为一种文化(政治)的象征存在:在书法界,无论现代书法(如邱振中),还是“学院派”书法(如陈振濂),抑或极具争议的“民间书法”(如沃兴华)和“流行书风”(如刘正成),更多是在尝试如何逸出既定的文人书写系统,开辟一种新的书写和视觉方式。然而,在此之外,还是有一些特例,比如白砥。他没有借助绘画、影像、装置、行为等其他媒介,将书法视觉化;也有别于书法界的现代实验——将书写行为和视觉效果作为目的。追求的其实是一种书法语言的纯度,更像 The practice of calligraphy in contemporary art since the 1980s is more of a symbol of culture: in calligraphy, whether modern calligraphy (such as Qiu Zhenzhong) or “academic” calligraphy (such as Chen Zhenxun), or The controversial “folk calligraphy” (such as Wo Hing Wah) and “popular style” (such as Liu Zhengcheng), more is trying to escape the established literary writing system, open up a new writing And visual way. However, there are a few exceptions to this, such as White’s. He did not visualize calligraphy with the help of other mediums such as paintings, images, installations, acts, and so on. He also differed from modern experiments in calligraphy for the purpose of writing and visual effects. In fact, the pursuit of a calligraphy language purity, more like