论文部分内容阅读
刘骁纯：2001年我曾负责《成都双年展》的学术工作,对于这个展览,台湾批评家徐文瑞说“它试图将过去20年来中国前好运动的部分成果和目前占据学院和市场的庞大保守势力衔接起来”。徐文瑞的批评恰好点到了我的初衷：将前卫倾向(在中国大路范围内显示出的前卫倾向,不论它是否具有世界意义的前卫性)和学院倾向衔接起来。在我看来,单取哪一面都不能反映新时期中国油画发展的全貌。本文便是从这两个角度
Liu Xiao Chun: In 2001, I was responsible for the academic work of the “Chengdu Biennale.” For this exhibition, Taiwan critic Xu Wenrui said: “It attempts to combine some of the fruits of China’s good march over the past two decades with the huge conservative forces currently occupying colleges and markets Join together. ” Xu Wenrui’s criticism came to my mind precisely as it relates to the avant-garde tendencies (the avant-garde tendencies displayed in the context of China’s airshow, whether or not it has world significance) and the college’s tendencies. In my opinion, the single aspect of painting can not reflect the overall picture of the development of Chinese oil painting in the new era. This article is from these two perspectives