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回顾近十年的中国当代艺术,我们不无沮丧地意识到,真正可供眼睛“观看”的艺术越来越少。一类作品延续着85时期的政治性图像,依靠西方冷战意识形态的支持和收藏;另一类作品挪用艳俗波普的商业影像,依赖庸俗社会学的解读和商业画廊拔苗助长。近年来的当代艺术面临着泛滥的观念理论扼杀的危险,真正可以称为艺术的作品相当稀缺,这主要是因为我们忽视了通过感觉到的经验去理解事物的审美天赋,我们的概念脱离了知觉,丧失了从所见的事物外观中发现意义的能力。
Looking back at the past decade of contemporary Chinese art, we are not without any disillusionment that there are fewer and fewer art truly available to the eyes. One category of works continues the political images of the 85th period, relying on the support and collection of the ideology of the Western Cold War; the other kind of work embezzles the commercial images of grizzled pop, relying on the interpretation of vulgar sociology and the promotion of the commercial gallery. In recent years, the contemporary art is facing the danger of strangulation of the conceptual theory. The real work that can be called art is rather scarce, mainly because we have neglected the aesthetic gift of understanding things through senses of experience, and our concepts are out of consciousness , Lost the ability to find meaning from the appearance of things seen.