当代艺术曾经是个名词解释,一股新鲜的生命力,它突破了太多的界限,带来了一剂“一切皆有可能”的春药。可慢慢地,药效在减弱,因为新鲜或快或慢会变得陈旧、腐朽、流俗,要命的是它还会死去。所以,艺术史不是进化史,不是越新鲜就越好,什么是当代的?一直就是个问题。幸好如此,要不艺术史早早就可以买口棺材盖上了。不管怎么样,绘画被多次宣判寿终正寝之后,在今天依然健在,而且因为资本的推动始终是市场的一支生力军,并始终人才辈出。我们还能再画什么?这绝对是画画的人要想的问题,它好像是当代艺术其它媒介之外额外提出的一个问题,而且也是个越来越难以回答的问题,只要绘画还存在,这个问题就一直在。第一次看到臧坤坤的画,对他准确成熟肯定的画风所吸引,这是个典型的现在孩子,漫长的绘画史素养加上现时代各种信息交互练就的综合能力,从他毫无迟疑气质里猜到是个年轻人,年轻 Contemporary art used to be a noun explanation, a fresh vitality that broke through too many boundaries and brought a heap of aphrodisiacs that “everything is possible.” Slowly, the potency diminishes, as freshness or quickness or slowness can become obsolete, decadent, vulgar, and lethargic when it dies. Therefore, the history of art is not an evolutionary history. The more freshness the better, what is contemporary? It has always been a problem. Fortunately, either art history could be bought early to buy a coffin covered. However, painting is still alive today after it has been declared many times, and because capital has always been a new force in the market, it has always been a talented person. What else can we draw? This is definitely the question to be drawn by the painter. It seems to be an additional question raised by other media in contemporary art, and it is also an increasingly difficult question to answer. As long as the painting still exists, This problem has always been there. The first time I saw Zang Kunkun’s painting was attracted to his accurate, mature and affirming style. This is a typical present-day child. The long history of painting, coupled with the comprehensive ability to interact with all kinds of information of the present era, Hesitant temperament guess is a young man, young