提到中国当代装置艺术,管怀宾和他的作品无疑是一个不可欠缺的存在。1990年初他旅居日本,并开始了他从中国传统绘画向当代空间装置艺术创作实践的转型。在过去的十多年,他参与过不少国际性重要展览,是一位备受关注的中国当代艺术家。他善于将中国传统文化元素解构并溶入到他的语言系统和作品构架之中;将中国古典造园美学融入其空间装置作品,他的作品总是洋溢着中国当代艺术中的另类气质。并且他有着深厚的与实践相并行的理论思考,他的文字散现于各种媒体。我们从这里发表的文章及作品中能感受到他在空间营造的过程中所显现的浓郁的人文情怀与意境传达。并使传统审美文化元素在当代艺术语境中获得了广泛的延伸与拓展。当然,融入其作品的除了他在心灵与观念语言构架方面的思考与研究外,也有他自身的艺术人文气质与精神思考倾向,同时暗合着他的某种淡淡伤感的心理轨迹与文化理想。 Mentioned the Chinese contemporary installation art, Guanghui Bin and his work is undoubtedly an indispensable existence. He resided in Japan in early 1990 and began his transformation from traditional Chinese painting to contemporary installations of space installations. In the past ten years, he has participated in many important international exhibitions, is a concern of Chinese contemporary artists. He was good at deconstructing and dissolving elements of Chinese traditional culture into his linguistic system and the framework of his works. By integrating Chinese classical garden-building aesthetics into his installations of space installations, his works are always permeated with the alternative temperament of Chinese contemporary art. And he has deep theoretical thinking in parallel with practice, and his texts appear in various media. From the articles and works published here, we can feel the rich human feelings and artistic conceptions that he reveals in the process of space creation. And make the traditional aesthetic and cultural elements in the context of contemporary art has been widely extended and expanded. Of course, in addition to his thinking and research on the spiritual and conceptual language framework, his works also have his own artistic humanism and spiritual thinking tendency, at the same time, it is a coincidence of his psychology track and cultural ideals.