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李路明集评李路明说:“当代艺术发展到现在,许多作品呈现出一种猥琐的状态,把人们的趣味搞得很琐碎。”我认为这一判断符合九十年代以来中国当代艺术的基本状态。进入九十年代之后,毛泽东时代美术因众多原因被直接引入许多美术家的作品之中,并把它们置入当代中国的大众文化、消费文化的洪流之中。在这些作品中,艺术家的立场和作品的含义是反讽、暧昧的,与八十年代缺席的区别是文革美术以在场的方式,成为被解构、调侃的对象及游戏式的直接呈现,揭示了九十年代中国社会面临的各种严肃的问题和所处的尴尬境地。
Commented Li Luming, Li Luming said: “The development of contemporary art up to now, many works showed a wretched state, people's fun and very trivial.” "I think this judgment in line with the Chinese contemporary art since the nineties Basic status. Since the 1990s, art in the era of Mao Tse-tung has been directly introduced into the works of many artists for many reasons and put into the torrent of contemporary Chinese mass culture and consumer culture. Among these works, the position of the artist and the meaning of the works are ironic and ambiguous. The difference from the 1980s is the presence of the Cultural Revolution in the form of presence, the object of deconstruction and ridicule, and the direct presentation of games, revealing that nine Chinese society in the decade facing all serious problems and embarrassing situations.