摘要
20世纪最后二十年的中国新艺术的产生,与政治、经济和社会领域里的整体变革有着密切关系。批评家和艺术史家如果仅仅希望通过对艺术语言的“独创性”的分析来认识这个历史时期的艺术,结果很可能是不得要领的。因为,现实似乎总是以不同的方式在提醒我们,寻找中国现代艺术发展的内在动力和本质的努力不应该也不可能局限于“视觉方式”的范畴之内。观察这二十年的艺术应该是问题式的,一个公共的价值判断尚未形成,因此,分析这二十年里的种种与艺术的变化有关的问题,成为我们了解艺术本身的重要途径。
The last two decades of the last century witnessed the birth of a new art in China, which was closely connected with the total transformation in politics, economy and society. If critics and art historians want to understand the art of this period through analysis of the “originality” of artistic language, the result may not be to the point. For reality may in different ways remind us of the impossibility of discovering the internal dynamics and essence of contemporary Chinese artistic development in visual arts. The new art of the 80s was related to the intellectual emancipation which made effective the borrowing of modernist languages from the West. The art of the 90s seemed to have lost the metaphysical pursuit of the 80s and was closely connected with the market and power mechanisms. Observation of the art of the two decades is problematic because a public value judgment has not yet formed. Therefore the only way to know art itself is to analyze the changes that were relevant to art. To a great extent, the peculiarity of language comes from that of individual psychological structure, while the universal phenomena are possibly the results of the political, economical and social environment. Art is only a particular expression of this ecological environment.
出处
《文艺研究》
CSSCI
北大核心
2005年第11期108-118,共11页
Literature & Art Studies
