论文部分内容阅读
“我们从哪里来?我们是谁?我们往哪里去?”高更的焦虑曾给身处20世纪80年代思想状况的艺术家带来影响,而今天当我们面对这样的问题,可以更多的当这个问题不存在或不需要回答。熟悉艺术的人对这句曾对张晓刚等人影响深远的话再熟悉不过,20世纪80年代末90年代初,或许是带着这样的问题和对艺术的理想,在圆明园周围聚集了大批的年轻艺术工作者、诗人等,形成了著名的艺术聚居地——“圆明园”艺术村,他们游离在北京周围用身心与实践来回答他们必须面对的问题,并有了自己的身份——“盲流艺术家”。当然,或许他们在不知不觉中找到了
“Where do we come from? Who are we? Where are we going?” Gordian’s anxiety had an impact on artists in the 1980s, and today when we face such problems we can Many when the problem does not exist or does not need to answer. People familiar with the arts are familiar with this remark that has had a profound impact on Zhang Xiaogang and others. However, in the late 1980s and early 1990s, perhaps with such problems and the ideal of art, a large number of young art gather around Yuanmingyuan Workers, poets, etc. formed a famous art colony - “Yuanmingyuan” art village, they are free to use Beijing’s surrounding body and mind to answer the questions they have to face, and have their own identity - “Blind Artist”. Of course, maybe they found it unconsciously