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10年前,“当代”这个词还在中国艺术领域里具有压倒一切的优势,是不断撩拨着学术、媒体以及艺术市场激情的活水源头;但如今,它已成为一个灰色的字眼,在持续的学术缄默与市场低迷中,围着它的是从艺术价值、文化身份以及市场运作等等方面的重重质疑,以至于揭穿中国当代艺术的皇帝的外衣已成为近年来颇为时髦的批评话语。事实上,这些批评与质疑的关键并不在于我们要不要当代艺术,而是需要怎样的当代艺术。
Ten years ago, the term “contemporary” was still an overwhelming advantage in the field of Chinese art. It was a source of living water that constantly pushed forward the passion for academics, the media and the art market. But now it has become a gray word. In the continuous academic silence and market downturn, the question surrounding it is from the artistic value, cultural identity and market operation, and so on, so much so that the coat of the Emperor who exposed the Chinese contemporary art has become rather fashionable criticism in recent years . In fact, the key to these criticisms and questions is not whether we want contemporary art but what kind of contemporary art we need.