改革开放以来,一些中国艺术家迅速“走红”西方艺坛,他们“走红”的原因,与西方国家基于自身利益(政治、外交、经济)的文化战略有很大关系,体现其中的选择性不完全或主要不是出于“艺术”的考虑。将这一条“看不见的战线”揭示出来,将更有利于我们清楚地认识到那些“走红”艺术家之“艺术性”的真实面目。同时,我们还看到,那些艺术家一旦“走红”西方艺坛,便会受到国内一些批评家或媒体的追捧,他们的艺术观念和作风便会在中国当代艺术领域蔓延开来。从国家文化安全角度说,国人对这一情形应该有所警醒。这种情形一方面反映出我们对这条“看不见的战线”还缺乏清醒的认识,另一方面也说明国家还需要进一步加强文化的自主建设和选择力度。 Since the reform and opening up, some Chinese artists have quickly gained popularity in western art circles. The reasons for their popularity have been closely linked with the cultural strategies of Western countries based on their own interests (politics, diplomacy and economy), reflecting the incompleteness of their choices Or not mainly out of “art” considerations. By revealing this “invisible front”, it will be more beneficial for us to clearly recognize the true features of the “artisticness” of those “popular” artists. At the same time, we also see that once those artists become “popular” with Western art circles, they will be sought after by some critics or media in China and their artistic concepts and style will be spread in the field of contemporary Chinese art. From the perspective of national cultural security, people should be on the alert of this situation. On the one hand, this situation shows that we still lack a clear understanding of this “invisible front” and on the other hand, we also need to further strengthen the self-construction and choice of culture in our country.