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海外华人艺术家在跨文化中生活,面对种种误解与困惑,对于文化身份的不确定性以及对于背井离乡、四处奔波生活的特殊经验,都演绎成他们创作观念的一部分。19世纪俄罗斯作家赫尔岑曾言,对于长期在外国生活的人而言,时钟在背井离乡的那一刻就停止了。虽然没有19世纪时流亡生活的苦楚,但是在每一位海外华人艺术家心里,故乡似乎并不存在,他们在任何一方都难以找到归属,都会在精神层面产生深深的无家可归之感。上世纪80年末代至今的国际当代艺术大展上,中国艺术家从零星出现到团体出击,在这个过程中,跨文化命题是必要的考虑对象。而海外华人艺术家参与这些国际展览,所具有的“跨文化性”则更加典型。他们兼有两种文化,但对于任何一种文化都保持一定距离,以一种“他者”的眼光谨慎审视这两种文化。他们一方面在国际大展中利用自己的多种语言、多重文化背景等优势,呈现出一种出其不意的观念语言;另一方面又以一种世界性的眼光审
Overseas Chinese artists live cross-culturally, confront misunderstandings and perplexities, and uncertainty about their cultural identities and special experiences of living in and out of their hometown as part of their creative concept. Herzen, a Russian writer of the 19th century, once said that for the long-term people living in foreign countries, the clock stopped at the moment of leaving their hometown. Although there is no such thing as an exile in the 19th century, the hometown does not seem to exist in the heart of every overseas Chinese artist. They find it hard to find ownership on either side, and there is a profound sense of homelessness at the spiritual level. At the International Contemporary Art Exhibition from the late 1980s to the present, the Chinese artists emerged from sporadic to gangs. In this process, the cross-cultural proposition is a necessary consideration. The participation of overseas Chinese artists in these international exhibitions is more typical of “interculturality.” They share both cultures, but keep a certain distance from any culture and carefully examine the two cultures in the “other’s” way. On the one hand, they have taken advantage of their multi-lingual and multi-cultural backgrounds in international exhibitions to present an unexpected concept language; on the other hand, they have adopted a global vision