陈传席先生在《美术观察》2003年第1期发表了一篇《批评就是宣传》,最后一段有一句是这样的:“在‘有害的艺术’尚未形成风气,尚不为人所知时,扼杀,限制,扑灭它最有效的方法就是不报道,不批评,不作任何理睬。”根据其上下文,不知是否可以这样理解:凡是“有害的艺术”都不报道,不批评,任之流行。对此,我的观点是:这是一种消极的态度,“有害的艺术”既然已经出现,就说明它有存在的客观条件和特定价值;对“有害的艺术”不仅要报道宣传,还需要有力的批评,正确地引导。 我认为,当下国内的前卫艺术不说是穷途末路,也多少有些走火入魔了。曾有一段时间,这类艺术活动似乎被一种血腥和变态的气息所笼罩,也由此引发了美术界里的一场有关艺术与道德、艺术与法律的大讨论,而这种讨论,起码使得绝大多数人增加了对中国前卫艺术现状的了解。然而,就在这样的时候,陈传席先生却忽然 Mr. Chen Chuanxi published an article entitled “Criticism is Propaganda” in the first issue of “Art Observation” 2003, and the last paragraph is this: “When the harmful art is not formed and is not yet known, it stifles, Limit, put it out the most effective way is not reported, not criticized, without any regard. ”According to its context, I do not know whether it can be understood: all“ harmful art ”are not reported, not criticized, any popular. In this regard, my point of view is: This is a negative attitude. Now that “harmful art” has appeared, it shows that it has the objective conditions and particular values ​​of its existence. It also needs to report not only the propaganda on “harmful art” Strong criticism, correct guidance. In my opinion, the current domestic avant-garde art is not the end of the road, but also somewhat exaggerated. For some time, such art activities seemed to be shrouded in a bloody and perverted atmosphere that triggered a major debate in art circles about art and morality, art and law, and at the very least such discussions So that most people have increased their understanding of the current state of Chinese avant-garde art. However, just at this time, Mr. Chen Chuanxi suddenly