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作 者:吴永强 Wu Yongqiang
机构地区:[1]不详
出 处:《当代美术家》2020年第3期8-13,共6页Contemporary Artists
摘 要:近十年来,中国当代艺术身陷全球化旋涡。伴随着中国国力增强、国际地位提高和其自身在国际上知名度的增长,其宿命化的身份焦虑反倒与日俱增。在貌似多元化、碎片化的景观之下,涌动着集体的暗流。威尼斯双年展平行展的组团出征,仪式化地表达了中国当代艺术确证自己在全球化时空中主体性在场的集体愿望。作为回应,"再中国化"成为部分批评家推动的潮流和众多艺术家创作的一个选项,并在国内系列大型展览的主题设置中得到曲折显现。同时,受"全球在地化"观念影响,中国当代艺术展开了宏观与微观两个层面的在地性实践,前者与"再中国化"连片,后者与"艺术乡建"相接。随着艺术乡建遍地开花,"谁的艺术乡建"之间应运而生。在激烈争论的过程中,双向对流的"全球化"与"在地化"接受了中国本土历史感的濡染,被置换成传统与现代的辩证法。结果,"再中国化"与"再现代"越来越近,在它们擦出火花的刹那,闪现出中国当代艺术价值方位的回光。For the recent 10 years,Chinese contemporary art has got involved in the wave of globalization.With the increasing comprehensive power,improving international status and raising of international profile,China’s identity anxiety has grown.In the seemingly diversified and fragmented spectacle,the communal undercurrent has been flowing.The group participation of parallel exhibition of La Biennale di Venezia has represented the collective aspiration ritually that Chinese contemporary art confirmed their subjective presence in the globalization times.In response,"re-chinization"has become a trend driven by some critics and an option for the creation of many artists,and has been featured in the theme settings of a series of large-scale exhibitions in China.At the same time,influenced by the concept of"glocalization",Chinese contemporary art has launched the local practice at both macro and micro levels;the former adhered to"re-chinization"and the latter connected with"art village construction".With the artistic rural constructions,questions like"whose artistic rural construction"came into being.In the fierce debates,the"globalization"and"localization"of two-way convection have accepted the influence of Chinese native history and was replaced by traditional and modern dialectics.As a result,"re-chinization"and"re-modernization"are getting closer and closer,at the moment when they strike sparks,the value of Chinese contemporary art flashed.
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