叶强:艺术与欲望的深度在中国“后现代”正被人描绘为这样一种状态:十五分钟的明星轮流登场;商品化使观念成为消费对象;历史失去纵向压缩为平面;文化差异在交汇时被国际化逼得无处逃生……如此等等。艺术不再需要道义、责任和出发点,不再需要历史知识、专业评价和任何深刻性。——这是当代艺术的现状么?如果它们成为中国文化的历史趋势,唯一的问题是,我们还需要艺术干什么呢?也许拉康的比喻是有道理的:鸵鸟一头扎进沙堆,把自己的屁股露在外面,却以为别人看不见自己的。在这里,掩饰自己的欲望通过自己掩饰的形式显露出来,掩饰还有何意义?且慢。即使艺术意义在很多时候是掩饰的结果,是欲望伪造出来的,但欲望和艺术相联系这一点,仍然指出了艺术存在的意义。这 Ye Qiang: Depth of Art and Desire in China “Postmodern ” is being portrayed as such a state: fifteen minutes of stars come on stage; commodification makes consumption an object; history loses vertical compression as a plane; culture Differences in the intersection of internationalization forced no escape now ... and so on. Art no longer needs morality, responsibility, and starting point, no longer need historical knowledge, professional evaluation and any profound. - Is this the status quo of contemporary art? If they become the historical trend of Chinese culture, the only question is, what else do we need to do with art? Maybe Lacan’s metaphor makes sense: the ostrich plunges into the sand, The buttocks exposed outside, but that others can not see their own. Here, the desire to conceal oneself is revealed in the form of one’s own disguise, to hide what is the meaning? Slowly. Even though the artistic meaning is often the result of disguise, the desire is faked, the relationship between desire and art still points out the meaning of artistic existence. This