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在都市茂密的水泥森林里,无论是纽约还是北京,巴黎或上海,一种真正全球性的青年文化现象正在形成,并以迅猛的姿态蔓延至大都市里的每一个角落,年轻的“新生代”一时间成为了最“热销”的话题。从地下文化到亚社会的交流方式,时代潮流和价值观念似乎正以某种加速度的翻新,在他们手里消解和重构。在艺术领域同样如此。从九十年代中后期开始,与大规模出现的具有时代特征的青春文化现象相呼应,中国当代艺术似乎也以此为契机,找到了学术与市场“双赢”的“阿里巴巴”魔咒。无论是1999年何香凝美术馆举办的《新锐的目光》;或者是2003由鲁虹担任学术主持的《新人类的视角》;
In the urban dense forest of cement, whether it is New York, Beijing, Paris or Shanghai, a truly global youth culture is taking shape and swiftly spreading to every corner of the metropolis. The young “Cenozoic ”For a time became the most“ hot ”topic. From the underground culture to the sub-social exchange methods, the trend of the times and values seem to be some kind of acceleration of the renovation, digestion and reconstruction in their hands. The same is true in the art field. Starting from the mid and late 1990s, the euphemism echoed the emergence of a large-scale youth culture with the characteristics of the times. It seems that contemporary Chinese art took this as an opportunity to find the “Alibaba” curse of academic and market “win-win”. Whether it is the “cutting-edge gaze” held by He Xiangning Art Museum in 1999 or the “new human perspective” hosted by Lu Hong in 2003;