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现在已经可以明显看出:与80年代对西方现、当代艺术的模仿、引进相比,中国当代艺术在90年代进入了一个新的相对自主、自立发展的时期。当然这自主和自立是指在开放的文化情境中的一种民族文化自信心的表现,并不意味着重又走回与世隔绝的老路。事实上90年代以来的中国当代艺术正是沿国际化和本土化并行不悖的路径全面、快速推进的,它以视觉的、图像的方式,真实生动地展现了国际化潮流中当代中国社会本土化生存的综合场景;艺术家们不懈探索新的艺术语言方式,以呈现新感觉和新
Now it can be clearly seen that Chinese contemporary art entered a new period of relative autonomy and self-reliance in the 1990s in comparison with the imitation and introduction of western contemporary and contemporary art in the 1980s. Of course, this independence and self-reliance means the manifestation of a culture of national self-confidence in an open cultural context, and does not mean that we are going back to the secluded path again. In fact, since the 1990s, Chinese contemporary art has been fully and rapidly advancing along the path of internationalization and localization. It shows vividly the localization of contemporary Chinese society in the international trend with the visual and pictorial methods Of the overall scene; artists relentlessly exploring new ways of artistic language to show new feelings and new