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如果说上个世纪末,人们更多的是对新世纪的憧憬,饱含着跨世纪的冲动,那么进入21世纪这十年来,人们越来越多地开始冷静地回望过去的一百年。尤其是中国,虽然经济发展的速度依旧在全球范围内处于领跑状态,但面向未来前冲的动力是否依然充沛,此时是否需要总结、需要补充新的能量?艺术也是一样,今天中国的艺术家在世界的状态与经济同步受到关注,主客观的动力使他们的工作与思考的范围越来越大,已远远超出了小小的画布,其作品的生存状态愈发媒体化,愈发如礼花般绽放时,作品被消费的速度也同步加快了。因此,我们会问,为什么一件充斥了巨大空间的装置作品常常只能看上两眼,观者就无所事事了,而当面对前人一张小小的写生却使你驻足,甚至会把你定在那里许久、许久……这是我个人在近期越来越明显的感受。
If we say that at the end of the last century more people are looking forward to the new century and are full of the impulse of the new century, in the past decade of the 21st century, people are beginning to calmly look back over the past century. Especially in China, although the pace of economic development is still at the top of the world, is there still plenty of momentum to push the future forward? Are there any needs to be summed up at this time, and new energy needs to be added? The same is true for art in China. Today, Chinese artists The state of the world is getting noticed at the same time as the economy. Subjective and objective motivations make their work and thinking more and more large, far beyond the small canvas, and the living conditions of their works become more and more mediaized. As the bloom, the speed of consumption of works also simultaneously accelerated. Therefore, we will ask why a device filled with huge space often can only look at the two eyes, the viewer has nothing to do, but stops you from facing a small sketch of his predecessor and even stops You set there for a long time, a long time ... This is my personal feeling more and more obvious in the near future.