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王广义是上世纪80年代以来中国现代主义艺术史中最重要的代表性艺术家之一,他的艺术经历凸现了中国当代艺术由启蒙时代到现代先锋主义、后现代主义、消费主义的过程中复杂的悖论性逻辑,但长期以来,对他的批评和研究一直被“政治波普”这类冷战性的批评话语和商业资本解说所误读与限制,缺乏与当代中国思想史、视觉文化史相关联的深度的个案研究。2012年10月14日至11月26日今日美术馆将推出由张子康任总监、黄专任策划人的大型研究性展览“自在之物:乌托邦、波普与个人神学——王广义艺术回顾展”。展览特别邀请多位批评家从不同以往的视角对王广义的作品进行理论阐释,本部分撷取了其中的一些段落,以展示出一个多维度的王广义。
Wang Guangyi was one of the most important representative artists in the art history of Chinese modernism since the 1980s. His artistic experience highlights the complexities of Chinese contemporary art from the Enlightenment era to the modern avant-garde, postmodernism and consumerism Paradoxical logic. But for a long time, his criticism and research have been misunderstood and restricted by such Cold War critical discourses and commercial capital narration as “Political Pop”, and lack of understanding with the history of contemporary Chinese thought, visual culture A case study of the depth associated with history. October 14, 2012 to November 26, 2012 Today Art Museum will launch a large research exhibition curated by Zhang Zikang, director of Huang Zuotong. “The Things in Place: Utopia, Pop and Individual Theology - A Review of Wang Guangyi’s Art ”. The exhibition specially invited many critics to explain Wang Guangyi’s works from different perspectives in the past. Some of these paragraphs were captured in this section to show a multi-dimensional Wang Guangyi.