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传统意义上的“水墨”并非《艺术界》谙熟的话题。但恰恰是基于一直以来所秉承的对于格局与方向的关注,促使我们制作了这期以“墨”为起点的十月刊专题。这个起点从一开始就溢出了围绕某一单纯画种或媒介的讨论,希望打开的是更大范围的藩篱,包括以媒介论为限制的认知所笼罩的偏见和惯性思维。这种思维将本土艺术环境中的“水墨”长期禁锢在显学和禁忌这两个相互矛盾的位置上。在被冠以体制正朔和学术正统之光环的同时,水墨也因其与“传统”和“大众”的天然亲近,而更正当、快捷地参与了艺术创作与权力的共谋、与商业的互惠,甚至是本地民族主义激情的发酵。而本期专题正是希望打破关于水墨讨论的封闭状态,将作为美学概念和精神共同体
Traditional ink painting is not a familiar topic for the art world. However, it is precisely based on the pattern and direction that has been adhering to all along, prompting us to produce a special issue of this month’s issue entitled “Ink”. This starting point has spilled from the very beginning a discussion of a single genre or medium, hoping to open up a wider range of barriers, including prejudices and inertia that are conditioned by the limitations of media theory. This kind of thinking has long confined “ink and wash” in the local art environment to two contradictory positions: education and taboo. While being modeled with the new system of law and the aura of academic orthodoxy, ink and wash is also more properly and quickly involved in the complicity of artistic creation and power because of its close proximity to the “traditional” and “popular” nature , Reciprocity with business, and even the fervor of local nationalism. This issue is precisely the hope of breaking the closed discussion on ink and wash, as a concept of aesthetics and spiritual community