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在中国当代艺术史上,从20世纪80年代以来的30年间,尚没有哪种地域力量能与川美抗衡。一个藏家朋友在谈到川美现象的发展时说,“忧伤,还是忧伤,淡淡的忧伤”。此话或者不无偏颇,但当革命的浪漫主义落幕,始自“伤痕”“乡土”的川美气质,一直以忧伤的调子笼罩了当代西南绘画近30年。当一种现象能够持续30年,当一种现象成为代际相传,当种现象进入从艺术家到评论家到收藏家到史家研究的良生循环,我们需要重新审视这股力量。
In the history of Chinese contemporary art, no geographical force has been able to counter the differences between the two countries in the 30 years since the 1980s. When a Tibetan friend touched upon the development of the Chuanmei phenomenon, he said: “sad, sad, light sad ”. However, when the romantic revolution of the revolution came to an end, the Sichuan-American temperament originating from “Scar ” “native land ” has been shrouded in sorrowful tones for nearly 30 years in contemporary Southwest painting. When a phenomenon lasts for 30 years, when a phenomenon becomes intergenerational, when it comes to the virtuous circle of researching from artist to critic to collector to historian, we need to revisit this force.