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九十年代行将过去,充分显示人类的智慧的艺术昭示给我们什么呢?看来人类的智慧有时也会为其自身所缠绕——不少横亘在二十世纪的问题看来还要带如二十一世纪,比如雕塑,在中国当代艺术中,它一直以某种不可或缺的配角方式存在——传统写实雕塑龟缩在美术学院的高阁上,满目不堪的城市雕塑占据着生活空间日益缩小的楼群和广场,更多的“泛雕塑”却活跃在前卫艺术舞台上。自八十年代国人引入了装置艺术方式后,雕塑的概念比任何时候都来得令人捉摸不定。尽管从当代艺术角度看形式分类已不具有本质意义,尽管我们可以用艺术的名义命名一切具有当代意义的创作,但在中国这还远不是大家的共识,由于形式的分类所引出的问题仍然困扰着许多人,看来应象在艺术的其它领域一
What has been shown to us by the art of fully demonstrating the wisdom of mankind in the nineties? It seems that the wisdom of human beings is sometimes entangled in itself - many of the problems that lay in the twentieth century seem to have to be brought In the 21st century, such as sculptures, in contemporary Chinese art, it has always existed in some indispensable supporting role - the traditional realist sculptures shrank to the top of the Academy of Fine Arts, the devastating urban sculptures occupy the increasingly narrow living space Of the buildings and squares, more “pan sculptures” are active in the avant-garde art arena. Since the introduction of installation art by the Chinese in the 1980s, the concept of sculpture has been more unpredictable than ever. Although formal classification has no essential meaning from the perspective of contemporary art, even though we can name all the contemporary creative works in the name of art, it is far from everyone’s consensus in China. Problems caused by the formal classification still bother For many, it seems like one other area of art