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中国当代抽象艺术经过近20年的发展,已发生了一系列令人惊奇的变化在边缘状态的实验中,艺术家们以个人化的方式,不约而同地培育出了抽象艺术话语的本土化、个性化特征。如果一个时代的艺术家以不同的曲线无意识地到达一个共同的目标,那么,这个目标就不仅仅是正确的,而且还完全可以作为成熟的标志。 本土化与个性化过程经历了两个含义完全不同的阶段80年代后期的意识形态生产和90年代的后殖民文化生产。这两个阶段的关系可以表述为80年代末提出的“纯化语言”,“回归艺术本体”的要求被一些艺术家的反殖民文化意识强化成了
After nearly 20 years of development, the Chinese contemporary abstract art has undergone a series of amazing changes. In the experiment of marginal state, the artists spontaneously nurtured the localization and personalization of abstract artistic discourse in an individual way feature. If artists of an era unconsciously reach a common goal with different curves, then this goal is not just correct, but it can also serve as a mark of maturity. The process of localization and personalization has undergone two completely different stages of ideological production in the late 1980s and post-colonial cultural production in the 1990s. The relationship between these two stages can be described as “purifying language” put forward in the late 1980s. The demand of “returning to the artistic noumenon” has been reinforced by the anti-colonial cultural awareness of some artists