十年来,随着社会转型的深化,异常的生存现实渐渐日常化。而在生存经验、视觉资讯非常丰富的受众面前,中国当代艺术自我热闹的境况显得十分苍白。在知识经济的时代,许多实验艺术家的社会责任感在一定程度上的淡化、悬置和缺失造成了当代艺术在中国本土日益小众化的局面,这一局面又与中国当代实验艺术在许多发达国家内取得与日俱增的国际性声誉和曝光量形成反比。一些以中西交流作为兑现自身价值的首要途径的艺术家为了争取或应付来自西方策展人、经纪人不断提供的“伙伴关系”,置自身于一种想象力和创造力被不断掏空的紧张状态之中。尽管有些力不从心,暴力这一世界艺术潮流中的热点问题还是被善于审时度势者一再触及,但表达方式上显得过于策略化和有针对性,在国内尚未形成影响力。 Over the past decade, with the deepening of social transformation, the abnormal reality of existence has gradually become more and more routine. In the face of experiencing a rich audience of visual information, the situation of self-bustling Chinese contemporary art is very pale. In the era of knowledge-based economy, the social responsibility of many experimental artists has been diluted to a certain extent. The dangling and lacking of contemporary artists’ art has led to the growing infiltration of contemporary art in China. This situation is in contradiction with the contemporary experimental art in many developed countries In contrast, the growing international reputation and exposure are inversely proportional to each other. In order to win or cope with the “partnership” continuously provided by the curators and brokers in the West, artists who use the exchange of Chinese and Western cultures as their primary means of redeeming their own value set themselves in a state of tension where imagination and creativity are constantly being emptied Among them. Despite some powerlessness and violence, the hot spot in the world art trend is repeatedly touched by those who are adept at examining and assessing the situation. However, the way of expression is too strategic and targeted and has not yet become influential in the country.