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刘明那种冷漠的无聊与荒诞的怀疑并没有以“纯化艺术”为遁词来回避使命感,逃避每时每刻都需要为社会为人类所承担的责任和义务;相反他却从另一个角度提出了对生活、对文化、以及对社会诸多问题的艺术上的思考,担负起了一种责任。这无疑是从后现代文化的角度对中国当代美术与社会问题的关系上给我们提供了良好的启示。刘明出生在那个充满“崇高”的五十年代末期。在文革期间,人们的心灵与精神变得麻木、无意识,其一切文化,政治、经济都是在斗争中形成。整个社会分成两种人,一种是改造别人,另一种是被人改造。监督劳动,政治学习、上山下乡、到贫下中农中脱胎换骨,成为这个时代的主要标迹。刘明就是在这个对人性尊严极端蔑视的“大革命”中度过了他的少年时代。在他的记忆中,第一次绘画行为就是把最敬受的毛主席头像用大白纸透下来,庄重地发给全班每一个同学,也许正是因为这次老师和同学的赞赏,诱发了他今后所从事艺术创作的最原始动机。
Liu Ming’s indifferent boredom and absurd suspicion have not avoided the sense of mission by “purifying the art” as an evasive word, and evaded the responsibility and obligation assumed by the community for mankind all the time; on the contrary, Raised the artistic thinking of life, culture, and many issues of society, took a responsibility. This undoubtedly provides us with good enlightenment from the perspective of post-modern culture on the relationship between contemporary Chinese art and social issues. Liu Ming was born in that full of “lofty” in the late fifties. During the Cultural Revolution, people’s mind and spirit became numb and unconscious, and all their culture, politics and economy were formed in the struggle. The whole society is divided into two kinds of people, one is to transform others and the other is to be transformed. Supervise labor, political study, going to the mountains and going down to the countryside and reborn as a middle peasant in the poor, becoming the major mark of this era. Liu Ming spent his childhood in this “Great Revolution,” which was extremely contemptuous of human dignity. In his memory, the first act of painting was to reveal the most venerable Chairman Mao’s portrait with a piece of white paper solemnly to every classmate in the class. Perhaps it was precisely because of this teacher’s and classmates’ appreciation that they induced He is the most original motivation for artistic creation in the future.