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最近我策划了一个题为“后生代与新世纪·广东展”的展览,出发点是想考察70年代诞生的艺术家的成长背景、生存方式和创作特点。当然,也包涵着对他们进入新世纪发展的可能性作一些理论表述和支持。 我觉得,他们的成长背景有着颇为独特的地方,甚至可以说,这种独特构成了他们后来生存方式的选择和创作思维特点的起点。有两个问题很值得探讨:一个是“断裂”,一个是“碎片”。他们自称是“断裂的一代”,教育和现实的断裂,理想与认识的断裂。在具有历史性转折的改革开放伊始,70年代人步入了他们的初级教育时期,父辈单纯的知识结构和真诚而破碎
Recently, I curated an exhibition titled “The Post-Generation and the New Century · Guangdong”. The starting point is to examine the growth background, survival style and creative features of artists born in the 1970s. Of course, it also contains some theoretical statements and support for the possibility of their development in the new century. I think their background has a rather unique place to be, and it can even be argued that this uniqueness forms the starting point for their later lifestyle choices and creative thinking. There are two issues worth exploring: one is “broken” and the other is “shard.” They claim to be “a generation of fractures,” a break in education and reality, a break in ideals and understanding. At the beginning of the historic turning point of reform and opening up, the 70s stepped into their primary education periods, their pure knowledge structure and their sincerity and fragmentation