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出身于浙美(今中国美术学院)师从陆俨少的谷文达早在上个世纪80年代就以其“文字符号”、“先锋水墨”等系列创作而引起艺术界的极大关注,成为“八五”时期的“弄潮儿”。在当时西潮涌动之际,他更是喊出“最重要的事情不是反传统,而是……反现代派……”的论断,令人耳目一新。80年代末90年代伊始,留美的谷文达提出“世界大同”的艺术理念,《血之迷·重新发现俄狄浦斯》等作品便是通过对人发、胎盘以及女性月经的运用而直面“人类”共同的生存问题。而这样一种价值诉求无疑策略性的回避了其“身份”问题的差异性,进而有效的切入中国当代艺术界获得其艺术“身份”的合法性,全面拓展其影响力。当然,重要的是,在取得话语权之后,谷文达迅速转向了关于中西文化问题的深入思考,《碑林》、《联合国》等系列作品显然是这方面的典范。在这些作品中,与其说显现的是一种多元文化的交流与互动,不如说是在一种文化差异性上的思索或博弈。当然,在我个人看来,至关重要的是:在经历了一系列大胆的求新求变的探索之后,谷文达冷静地提出并践行其更具意义的“经典波普”的艺术宣言,即一种试图把中国精英文化普及化的宏伟蓝图,其“红灯天堂”、“文化移情”、“水墨与动画”系列作品无疑是这一宣言的完美表达,而这样的一种价值诉求也势必会在国际艺术界生发其不可代替的深远意义……
A native of Zhejiang Academy of Fine Arts (now China Academy of Art), Gu Wenda, a teacher from Lu Yanshao, started his art career as early as the 1980s with his “writing symbols ” and “Pioneer Ink” Concerned about, to become “85 ” period “beach party ”. At the time when the tide of the west surged, he shouted even more: “The most important thing is not anti-tradition, but ... anti-modernist ... ” assertion, refreshing. At the beginning of the 1980s, at the beginning of the 1990s, Gu Wen-da of the United States put forward the artistic concept of “the world Tatung” and “blood of the fans, rediscover Oedipus” and other works are through the use of human hair, placenta and women’s menstruation and face “Human ” common existence problem. However, such a value appeal will undoubtedly strategically avoid the differences in its “identity” issues and thus effectively enter the legitimacy of the Chinese contemporary art community in gaining its artistic “status” and comprehensively expanding its influence. Of course, it is important that after obtaining the right to speak, Gu Wenda quickly turned to in-depth thinking on the cultural issues between China and the West. The series of works such as “Beilin” and “the United Nations” are clearly examples in this regard. In these works, it is not a multicultural exchange or interaction rather than a cultural reflection or game. Of course, in my opinion, it is of paramount importance that after a series of bold exploration of new and innovative ways, Gu Wen-da calmly put forward and practice its more meaningful “classical pop art” The proclamation, a magnificent blueprint for trying to popularize China’s elite culture, is undoubtedly the perfect expression of this proclamation in its series “Red Light Heaven,” “Cultural Empathy,” and “Ink and Motion Pictures.” , And such a kind of value appeal is bound to give birth to its irreplaceable and far-reaching significance in the international art world ...