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西安,作为传统文化的中心与现代文化的边缘,其当代艺术的发展正面临着一种尴尬。传统文化被降格为不可一世的历史的僵尸,陈列在表面平静的黄土文化里,固守并掩饰着商品经济下催生出的种种文化弊端。一方面是区域性的艺术贿赂经济与地摊艺术经济的发达,一方面是区域性的画派林立与农耕似艺术团体的纷繁,处在边缘状态下的西安当代艺术的学术认知与创作空间非常有限。西安当代艺术面临着巨大的压力。然而这也给西安的当代艺术提供了对的深层文化体悟与质疑的机会。但是西安当代艺术的发展极不平衡,体制内外表现出了两种学术态度,一种是艺术诗学与批判的结合,一种是艺术诗学与批判的背离。
Xi’an, as the center of traditional culture and the edge of modern culture, is faced with an awkward development of contemporary art. The zombies, whose traditional culture has been downgraded to an unendurable history, are displayed in the calm loess culture and cling to and cover up the various cultural drawbacks that have been created under the commodity economy. On the one hand, the regional art bribes the economy and the developed economy of the stalls. On the one hand, there are numerous and varied academic cognitions and creative spaces in the marginal state of contemporary art in the area of regional schools of art and farming. limited. Xi’an contemporary art is under tremendous pressure. However, this also provides the opportunity for contemporary art in Xi’an to deeply understand and question the culture. However, the development of contemporary art in Xi’an is extremely unbalanced. Two academic attitudes are shown both inside and outside the system. One is the combination of artistic poetics and criticism, and the other is the departure from artistic poetics and criticism.