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九十年代兴起的商品大潮将中国前卫艺术置于一个尴尬的境地:即追求永恒之物之同时又必须把握当下机遇。有的人成功地进行了“话语转型”,而终于登上了经济快车,有人还相当成功地为海外画商所“收编”,过起了锦衣玉食的日子。然而,仍有一批真正意义的前卫艺术家,在极为艰难的处境中将理想之火照亮被金币熏黄的大地。 这几年,随着后现代主义的“西风东渐”,美术界新生代或试验派们,确乎以东方式的智慧重组了“后”话语,无论是’89中国现代艺术展的“后现代性”挪用,还是九十年代艺术家的群体分化,无论是由《析世鉴》的高蹈还是“猪交配”的东西方文化冲突喻的粗陋(徐冰),无论是吕胜中具有傩文化基因的剪纸小红人,还是马六明、张洹等人的自虐性“行为艺术”,都表征出当代中国美术所遭遇
The tide of goods rising in the 1990s placed the Chinese avant-garde art in an awkward position: the pursuit of the eternal things and the necessity of seizing the opportunities now. Some people have succeeded in “discourse transformation” and have finally boarded the Economic Express. Some have quite successfully succeeded in “compiling” overseas painting companies and have taken up the golden clothing and jade supplies. However, there are still a number of genuine avant-garde artists who, in extremely difficult circumstances, illuminate the land of gold that has been smoldered by the ideal fire. In recent years, with the “westerly eastward” of postmodernism, the new generation or experimentalists in the field of art have indeed reorganized the “post-discourse” with the wisdom of the East. Both the post-modernism of ’89 China Modern Art Exhibition Sex “misappropriation, or the group differentiation of artists in the 90s, both from the high culture of” Expeditionary Society “or the crude cultural conflict between East and West cultures (Xu Bing) Red paper-cut people, or Ma Liuming, Zhang Jian et al abusive ”performance art", are characterized by the contemporary Chinese art encounter