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当代绘画最引人注意的,是画家充分地自由地行使着个人话语的权力,把一般的绘画程式改造为一般的具体的个人的话语空间,为主体经验和情绪进行着重新定位。特别是90年代以来,情况更是如此。冷眼看画坛,时下似乎正以创作中的实验为热点。其突出表现为对技艺的推崇,艺术家对语言锤炼不厌其烦,对技艺精湛性的推敲孜孜不倦,(当然,部分原因可归于市场经济的引导);如果我们从更远,些的角度审视,如果我们不是偏执地对所谓纯粹“形式”的过度沉缅,把所有因素都充分估计进去,那么对当下绘画的总体成就就不会评价过高。因为那些在才能上,气质上,心智上、情感上最具活力的艺术家大都花费或牺牲了他们太多的心力,而留给心灵情感创造力的还剩下很少部分。 今天,部分艺术家已有觉醒,看到了这种偏颇,他们开始有效地集中自己的才华在完整意义的艺术创造上,而不是仅仅在无目的地实验上。
The most striking aspect of contemporary painting is the artist’s power to fully exercise his or her own individual language freely. The general painting program is transformed into a concrete and specific personal discourse space, and the subject experience and mood are repositioned. This is especially the case since the 1990s. Slightly watching the painting altar, nowadays it seems to be experimenting with the creation of hot spots. Its salient performance is esteem for artistry, the artist is tired of language tempering, tirelessly scrutinizing artistry (of course, part of the reason can be attributed to the guidance of the market economy); if we look farther and more, if we are not Paranoidly indulging in the so-called pure “form,” and taking all factors into full consideration, the overall achievements in the current painting will not be overestimated. Because most artists who are talented, temperamental, intellectual, and emotionally most expend or sacrifice too much effort, leaving only a small portion of spiritual and emotional creativity. Today, some artists have been awakened and saw this bias. They began to effectively focus their talents on the artistic creation of complete meaning, not just on purposeless experiments.