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在过去的一年中针对中国当代艺术发出的批评声音越来越多,其中很多批评集中于对中国当代艺术社会学价值的质疑。身居海外的学者段炼也对中国当代艺术持有批评性意见。本期他的文章通过分析西方一些仍在运用后现代绘画语言的架上绘画创作所暴露出的语言枯竭和艺术思想苍白贫困的问题,指出在21世纪仍然使用属于20世纪80年代的西方后现代绘画语言,包括戏仿、挪用等语言策略的中国当代艺术同样面临着语言枯竭,艺术思想缺失的深刻危机。曾属东德的莱比锡是一个具有深厚艺术传统的城市,在那里形成发展起来的新老莱锡画派近年来在国际上成为越来越受人关注的艺术群体,2006年底新莱比锡画派首次把展览带到北京的阿拉里奥画廊,本期李黎阳的文章较详细地介绍了莱比锡画派的历史和现在。
There have been more and more criticisms of contemporary Chinese art in the past year. Many of these critiques have focused on questioning the value of contemporary Chinese art sociology. Duan Lian, a scholar living overseas, also holds a critical opinion on Chinese contemporary art. In this issue, his article analyzes the problems of language exhaustion and the pale and poor artistic ideas exposed by some on-the-shelf paintings still using the postmodern language of painting in the West. He points out that in the 21st century, Western post-modernism that belonged to the 1980s Chinese contemporary art, such as painting language and linguistic strategies including parody and appropriation, also face the profound crisis of language exhaustion and lack of artistic thought. Leipzig, a former East German city, is a city with a profound artistic tradition. The newly formed Laosi Painting School has become an international art community attracting more and more attention in recent years. At the end of 2006, the Neo-Leipzig School of Painting first time Taking the exhibition to Arario Gallery in Beijing, Li Liyang’s article presents the history and present of the Leipzig School in more detail.