一上个世纪八十年代中期至今的贵州当代艺术,既不能被以北京为中心的当代艺术新潮认同,又无法被纳入地域性的民间文化传统结构。其实,可称之为一种“野生”而非“家养”的、持续性的现代主义艺术追求。这种“野生”的现代性,可能包括了对西方和中国现代主义主流的双重误读、篡改、修正、重构以及许 The contemporary art in Guizhou from the mid-1980s up to the present can not be identified with the trendy contemporary art centering around Beijing, nor can it be incorporated into the traditional folk culture structure. In fact, we can call it a kind of “wild” instead of “domestic”, and the persistent pursuit of modern art. This “wild” modernity may include double misinterpretation of the mainstream of Western and Chinese modernism, manipulation, revision, reconstruction, and the like