中国当代艺术在后殖民语境下的“意义虚无”现象

发布时间：2018-04-03 22:01

本文选题：当代艺术　切入点：后殖民主义　出处：《湘潭大学学报(哲学社会科学版)》2011年06期

【摘要】：从20世纪90年代初的"中国政治波普"和"泼皮现实主义",到90年代末21世纪初的"艳俗艺术"……都显示了每个中国艺术发展期的"前卫性"。然而这个被统称的"艺术当代性",却日趋泛化出典型的"意义虚无"特征。这种艺术特征的形成因素应该是多元的,但有一个重要的因素起到了关键的作用,那就是后殖民主义的直接影响。对后殖民主义者东方文化想象的迎合、西方艺术资本对中国艺术市场的操控、大众消费潮流对审美观和价值观的影响、"榜样"的树立、避世心理和敏感话题的回避等,都直接或间接地成为了中国当代艺术"意义虚无"的成因。
[Abstract]:From "Chinese political Popper" and "Poppy realism" in the early 1990s to the "showy art" in the late 1990s and early 21st century.It shows the "avantgarde" of each period of Chinese art development.However, the "artistic contemporaneity", which is generally referred to as "artistic modernity", is becoming a typical feature of "meaning nothingness".The forming factors of this artistic feature should be pluralistic, but one important factor played a key role, that is, the direct influence of post-colonialism.Pandering to the postcolonial oriental cultural imagination, the manipulation of western art capital to the Chinese art market, the influence of popular consumption trends on aesthetics and values, the establishment of "role models", the avoidance of psychology and sensitive topics, etc.Both directly and indirectly became the cause of "nothingness" in Chinese contemporary art.
【作者单位】：湘潭大学艺术学院;
【分类号】：J120.9

【共引文献】