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1995年,北京的某一天,回到中国不久的艾未未站立着,双手捧了一个陶罐,手那么一松,罐子就顺着重力,落在地上,碎了——三张黑白照片所记录的这破坏性的一瞬,对于刚刚感受到“全球化”助推与影响的中国当代艺术而言,只是一声未能传远的动静——即便,碎掉的罐子据说是汉代的;1993年,从美国短暂回国的徐冰做了一件关于“动物”的现场作品反响很大:观众在北京王府井的一家画廊里,看到了一头印有拉丁字母的公猪与一头印有汉字“天书”的母猪现场交配,徐冰为之取名《文化动物》。面对如此场景,观众除了尴尬之外,很自然地联想到自己的文化身份——有的人将之解读为西方文化的入侵、强暴,有的人从中看出了中国对于西方的引诱,外界的评论莫衷一是,徐冰对此也讳莫如深,更多谈的是文化转移。
One day in Beijing, one day in Beijing, Ai Weiwei, who was returning to China soon, stood with both hands holding a clay pot and his hand was so loose that the jar fell against the ground and fell on the ground - broken down in three black and white photographs This destructive moment is just an unimaginable move for Chinese contemporary art that has just felt the boost and influence of “globalization.” Even though broken pots are said to be Han Dynasty, , A brilliant piece about “Animal” made by Xu Bing, who briefly returned from the United States, had a great response: the audience saw a boar printed with a Latin alphabet and a printed Chinese character in an art gallery in Wangfujing, Beijing “Bible ” sow live mating, Xu Bing named “cultural animal.” In the face of such a scene, the audience naturally think of their own cultural identities except embarrassment. Some people interpret it as the invasion and violence of Western culture. Some people find out that China lured the West and the outside world The comments are mixed, Xu Bing is also secretive about this, more talk about the transfer of culture.