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为当代文化建设开创新的篇章
—— 写在“建构之维”2010年中国当代艺术邀请展的前面
作者: 罗中立 上传时间: 2010/9/12 来源: “建构之维”中国当代艺术邀请展 浏览 9232 次 评论 0 条
  今天的中国正处于改革开放以来最好的历史时期,政治昌明、经济腾飞、社会和谐、民族团结和文化繁荣。这是一个伟大的时代,不仅为中国当代文化建设开创了新局面,也为当代艺术的发展提供了前所未有的历史机遇。

  在过去的三十多年里,中国当代艺术从萌芽、发展,走向成熟,直到今天多元化格局的形成,可谓硕果磊磊,成就斐然。文革结束后,思想解放与改革开放为新时期的当代艺术提供了发展的契机,“伤痕美术”、“乡土绘画”,以及80年代回归艺术本体的文艺思潮共同成为了新的起点。同时,当代艺术以人道与人性为基点,形成了一种关注现实问题,关注时代变革,以人为本的人文主义传统。80年代中期,当代艺术有了更进一步的发展,各种现代美术运动、艺术思潮、艺术团体的涌现,不仅成为了中国在文化现代性建设中的时代表征,而且形成了各种思潮、风格、形态多元共存,齐头并进的局面。90年代以来,随着社会改革的进一步深化,在新的历史、文化语境下,当代艺术也肩负着新的历史使命。一方面,中国当代艺术要立足现实,溯源传统,从本土文化切入,建构自身的民族文化身份;另一方面,要在全球化的语境下,树立中国当代艺术的主体形象,确立自身的文化艺术价值尺度,并在语言形态、艺术观念上与西方接轨。于是,传统与现代、本土化与全球化成为了此一时期中国当代艺术发展的主要语境。进入21世纪以来,中国当代艺术不仅很好地完成了上述两个阶段的使命,而且在展览体制、艺术传播、文化教育,以及美术馆、博物馆机制建立等诸多方面取得了很好的成绩,形成了一个日趋完备的、有机的、健康的、多元的艺术生态。

  当然,和当代艺术取得的成绩比较起来,当代艺术的梳理、研究、推广工作还相对滞后,在这种语境下,如何让中国的当代艺术在国际上产生更大的影响,提升国家的文化“软实力”,塑造中国当代艺术的国家形象便成为了迫在眉睫的课题。为了促进当代艺术的进一步发展,提升当代艺术领域的学术科研能力,中国艺术研究院运筹并于2009年11月成立了中国当代艺术院。为了搭建一个崭新的平台,提升当代艺术的学术形象,中国当代艺术院邀请了一批在各个发展阶段具有代表性的艺术家参与其中,为当代艺术的推广、交流、科研做一些重要且具有建设意义的工作。

  “建构之维——2010年中国当代艺术邀请展”正是基于上述学术目的而筹办的。本次展览得到了中国艺术研究院和中国美术馆的大力支持,邀请了20位在过去三十多年中各个时期与不同艺术领域具有代表性的艺术家参加。此次展览的初衷是希望能较为全面地梳理、呈现中国当代艺术多元的创作格局与不同的艺术追求,而“建构”的意义则在于凸显当代艺术所创造的新的艺术价值、文化价值与精神价值。除了强调“建构”的意义外,本次展览还突出“之维”所具有的开放性与多元性。虽然此次邀请展兼具回顾与梳理之意,但在参展的70多件作品中,仍有20多件是艺术家们的最新力作。我们希望通过此次展览,能让当代艺术走向社会,走向大众,让更多的观众欣赏和了解到中国的当代艺术。

  事实上,从当代艺术在改革开放的浪潮中登上历史舞台的那天起,就在努力地追求自身要完成的艺术使命,并希望在文化现代性的建设中做出贡献。但是,我们会发现,不管是当代艺术的艺术使命还是其文化内涵,它们都并不是一成不变的,相反都会因时代文化情景的改变而向前衍生、推进。从这个角度讲,“当代艺术”的意义就在于能体现时代的文化精神,而艺术家的价值则在于能赋予“当代性”以更丰富的文化内涵。正基于此,以本次展览为依托,当代艺术院将以国家的当代文化发展战略为契机,以建设具有本土文化逻辑与时代文化精神的当代艺术为己任,并以一个全新的姿态和方式向前发展,逐渐将中国当代艺术提升到一个更高、更新的文化与精神层面,并为未来当代文化的建设开创新的篇章。

                                                                  中国艺术研究院中国当代艺术院 院长:罗中立
                                                                                               2010年7月18日
 

Create a New Chapter for the Construction of Contemporary Culture

A Preface to “The Constructed Demension”—2010 Chinese Contemporary Art Invitational Exhibition

Luo Zhongli
Director
Contemporary Art Academy of China

  Today, China is in her best historical period since the reform and opening up with political and economic flourishing, social and ethnic harmony as well as cultural prosperity. This is a great era, which has not only created a new situation for the construction of Chinese contemporary culture, but also provided unprecedented historical opportunity for the development of contemporary art.

  During the last three decades, Chinese contemporary art has experienced its stages of sprouting and growing up, and became mature at last; today, the pluralistic pattern has formed up, we could say that it has acquired great success and remarkable achievement. After the Cultural Revolution, ideological emancipation as well as the reform and opening up provided opportunities of development for contemporary art in the new period, “Scar Art”, “Local Painting” and the literary trends of thought which returned to the ontology of art in 1980s became the new starting point together. Meanwhile, with humanity and humanness as its basic point, a humanism tradition which pays attention to reality issues and social changes, and is human oriented has been developed in contemporary art. In middle 1980s, contemporary art has been further developed, the emergence of various modern arts movements, artistic trends of thought and artistic groups not only became the representation of this era of China in cultural modernity construction, but also formed the situation that all kinds of trends, styles and forms coexisted pluralistically and advanced side by side. From 1990s onwards, with the further deepening of social reform, contemporary art also shouldered new historical mission against new historical and cultural context. On one side, Chinese contemporary art should be realistic and trace to the origin of tradition, start with local culture and construct the national cultural identity of itself; on the other side, the subjective image of Chinese contemporary art should be established against the globalized context, it should build up its own cultural artistic measure of value, and integrate with the West from both linguistic form and artistic concept. Therefore, tradition and modernity, localization and globalization become the main context of the development of Chinese contemporary art in this era. Entering 21st century, Chinese contemporary art has not only well finished the missions of the two periods mentioned above, but also acquired good achievements in various aspects including the construction in exhibition system, arts communication, cultural education as well as the establishment of art gallery and museum mechanism. An increasingly complete, organic, healthy and pluralistic Art Eco has been formed.
 
  Without doubt, compared with the achievement of contemporary art, the sorting out, research and promotion works of contemporary art are still relatively delayed. Against such a context, how to make Chinese contemporary art more influential all around the world, raise the cultural “soft power” of our country and establish the national image of Chinese contemporary art became an imminent issue. In order to promote further development of contemporary art and raise the academic research capacity in contemporary art field, Chinese National Academy of Arts planned and established the Contemporary Art Academy of China in November 2009. In order to build a brand new stage and upgrade the academic image of contemporary art, the Contemporary Art Academy of China invited some artists who are representative in various developing stages to do some important and constructive works for the promotion, communication and research of contemporary art.
 
  “The Constructed Demension——2010 Chinese Contemporary Art Invitational Exhibition” is just curated and organized on the basis of the academic purposes mentioned above. This exhibition has received energetic support from Chinese National Academy of Arts and National Art Museum of China, and invited 20 artists who are representative in all stages and different artistic fields during the last three decades to participate. The original intention of this exhibition is to make a relatively comprehensive sorting and presentation of the pluralistic creation patterns and various artistic pursuits in Chinese contemporary art, while the significance of “Constructed” is to highlight the new artistic value, cultural value and spiritual value created by contemporary art. Except for emphasizing the significance of “Constructed”, this exhibition also gives prominence to the openness and diversity of the “dimension”. Although the intention of retrospection and sorting is included in this exhibition, yet among the more than 70 pieces of works at this exhibition, there are still more than 20 pieces which are the newest creation of the artists participating in it. We hope to make contemporary art go to society, go to the public and make more audiences understand and appreciate Chinese contemporary art through this exhibition.
 
  In fact, from the very day when contemporary art appeared on the stage of history in the wave of reform and opening up, it was always industriously pursuing the artistic mission which should be finished by itself, and hopes to make contribution to the construction of cultural modernity. However, we would discover that neither the artistic mission nor the cultural connotation of contemporary art is static, on the contrary, they would both develop and march forward on account of the changes in cultural context of the time. From this perspective, the significance of “contemporary art” is that it could reflect the cultural spirit of this modern era, while the value of artists is that they could bestow “contemporaneity” with richer cultural connotations. Based on this, the Contemporary Art Academy of China would, rely on this exhibition, with the national development strategy of contemporary culture as its opportunity, construct contemporary art of local cultural logic and cultural spirit of the era, and go forward with a brand new posture in a brand new way, in order to raise Chinese contemporary art to a higher and newer cultural and spiritual level, and create a new chapter for the construction of contemporary culture in the future.

                         18 July, 2010

编辑:【冯知军】
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