89年以来,中国当代前卫艺术出现了许多变化,其中最明显的莫过于群体式的运动为艺术家的个体式创作所代替,因而整个态势呈现着分流的状况。这是中国前卫艺术走向成熟和自我完善的一个信号,也是处于在社会经济结构转型期的艺术文化的必然面貌。然而,有其正面必然有其负面,市场观念的引入造成了许多前所未遇的艺术问题,一方面是“艺术市场”成为中国当代艺术家、包括曾经极其前卫性的艺术家为之创作和操作的对象与目标;另一方面则是一部分艺术家避开尚不足以形成艺术市场的中国本土,以流行艺术的绘画语言去敲西方文化的大门,开辟国外市场。前者关注国内艺术市场繁荣更胜于关注中国当代艺术的创作本身,后者关注艺术语言的国际认同更胜于关注艺术语言的积累与沉淀。中国的前卫艺术家从来没有像现在这样有着一种自觉之后的困惑与茫然,无论这种困惑与茫然的程度如何,艺术 Since 1989, many changes have taken place in the contemporary avant-garde art in China. The most obvious of these is that the group-style movement is replaced by the artist-individual creation, and the whole situation is shunted. This is a signal that China’s avant-garde art is becoming mature and self-perfecting, and it is also the inevitable face of the art culture in the transitional period of the social and economic structure. However, there are inevitably positive and negative aspects. The introduction of market concepts has created many unprecedented artistic problems. On the one hand, the “art market” has become the creation and operation of contemporary Chinese artists, including those once extremely avant-garde artists Objects and goals. On the other hand, some artists avoid the Chinese mainland, which is still not enough to form an art market. They tap the door of Western culture in the art language of pop art and open up foreign markets. The former focuses on the prosperity of the domestic art market rather than on the creation of contemporary Chinese art itself. The latter focuses more on the international recognition of art language than on the accumulation and deposition of art language. China’s avant-garde artists have never had such a kind of perplexity and dazedness as they now are, no matter how confused and dazed they are. Art