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文章通过对1990年代以来的东亚当代艺术实践发展方向的讨论,指出在过去20年间出现的话语中,东亚已经逐渐被视为是工业的、资本的以及都市的并且投入到狂热的发展中,工业、资本和都市被当代东亚艺术家几乎如圣歌般地咏唱着。尽管当代/后现代艺术形式似乎是当代全球艺术的基础,却无法让我们理解“全球”艺术的历史,而经济发展给予我们发现自我并探寻当代亚洲艺术和艺术实践源流的机会。
Through the discussion of the development direction of contemporary art practice in East Asia since the 1990s, the article points out that among the discourses that have emerged in the past 20 years, East Asia has gradually been regarded as industrial, capital and metropolitan and devoted to fanatical development. Industry , Capital and city are chant almost as sacred song by contemporary East Asian artists. Although contemporary / postmodern art forms seem to be the foundation of contemporary global art, we are unable to understand the history of “global” art, and economic development gives us the opportunity to discover ourselves and to explore the origins of contemporary Asian art and the arts.