没有线条的历史——对中国当代艺术史叙事的思考

发布时间：2018-05-15 20:47

本文选题：现当代艺术 + 中国当代艺术　；参考：《文艺研究》2011年07期

【摘要】：中国的现当代艺术史的发展是在一个非常复杂的社会背景和语言情境中发生的。政治、文化和经济的复杂因素,传统和西方的艺术语言并存的系统,东方和西方长久以来特别是近二十年的全球化的博弈空间,都成为中国20世纪以来的艺术发展中不可摆脱的驱动力,同时它们又被灵活地转化为艺术家的创作资源。所以,在中国的现当代艺术中,回归和进取、取用和扬弃总是处于对流之中。政治、语言和资本等因素无法成为艺术史叙事的单一线条。相反,西方20世纪的艺术史叙事基本建立在艺术(美学)和社会系统相疏离的二元对立的线性逻辑上。这种线性历史观显然对中国20世纪以来的艺术史观产生了影响。因此,如何寻找不同的叙事模式,找到一个更加符合中国现当代艺术史书写的认识角度和方法成为不可避免的挑战。
[Abstract]:The development of modern and contemporary art history in China takes place in a very complicated social background and linguistic context. The complex factors of politics, culture and economy, the system of the coexistence of traditional and western artistic languages, the game space of globalization between the East and the West for a long time, especially in the past two decades. They have become the driving force in the development of Chinese art since the 20th century, and they have been converted into creative resources of artists flexibly. Therefore, in Chinese modern and contemporary art, return and enterprising, use and sublation are always in convection. Politics, language and capital can not become a single line of art history narration. On the contrary, the narrative of art history in the 20th century in the West is based on the linear logic of the binary opposition between art (aesthetics) and social systems. This linear view of history has obviously influenced China's view of art history since the 20 th century. Therefore, how to find different narrative models and find a more contemporary Chinese art history writing understanding angle and method become an inevitable challenge.
【作者单位】：美国匹兹堡大学;天津美术学院;
【分类号】：J120.9

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