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绘画在历时性的艺术谱系中,曾经历了符号、图像到观念的关照和阐释,尤其是摄影被发明和现代主义运动以来,对于架上绘画来说,变革的标志在于观念性的内置,似乎“怎么画”比“画什么”成为更加困扰和激励每位艺术家的问题。但是在一个更加有效的绘画实践中,经历过绘画“观念性”的实践,消解和抽离叙事的语境后,艺术家们又重新思考形象和语言、观念和叙事之间的结构性关系,绘画终究是关于形象的观念?还是形象和语言的交汇之处?
Painting in the diachronic art pedigree has experienced the care and interpretation of symbols and images to concepts. Especially since the invention of photography and the movement of modernism, the symbol of change for on-shelf painting lies in its conceptual built-in. It seems “How to Draw” is more problematic and motivating each artist than “Painting What”. However, in a more effective painting practice, after experiencing the practice of painting “conceptual ” and dissolving and abstracting the narrative context, the artists rethink the structural relationship between image and language, concept and narration After all, the painting is about the concept of image or the intersection of image and language?