域外观主持人语近年来,随着西方“泛世界主义”思潮的行俏,第三世界艺术和非洲土著艺术被频频搬到现代美术馆,这给了包括中国在内的新潮艺术家们一个很好的机会,不少艺术家将参加诸如威尼斯双年展等国际性大展视为跻身“世界”的壮举而欢呼雀跃。但必须清醒:这不过是一种表象,因为迄今为止世界从来就没有形成过“公平对话”的局面,而只是西方以一种文化优势的资态的“不耻下问”。中西文化大交流的历史表象背后,重铸中国文化只能依靠自成体系的文化内涵和本质特征,而不是投什么人所好。上世纪末到本世纪初的三、四十年,法国的印象主义在世界画坛上占尽了风头,其余的画派与画家似乎显得黯然失色。好在历史上的沉与浮从不以一时的热闹为准则,曾经被认为对上世纪末以来来的新艺术发展贡献不大的德国北部风景画,以其沉郁、平实的品格和浓重的泥土气息,带给我们一种实实在在的深厚、丰富与美,别有一番滋味。 In recent years, along with the trend of western “universal cosmopolitanism”, the Third World art and African indigenous art have been frequently moved to the Museum of Modern Art, which gave the trendy artists including China a very A good chance, many artists will be participating in such international exhibitions as the Venice Biennale as among the “world” feat and cheer. But it must be awakened. This is only an appearance, for so far the world has never had a “fair dialogue” situation, but only the “shameless questioning” of the western state with a cultural superiority. Behind the historical manifestations of the great exchange between Chinese and Western cultures, the re-casting of Chinese culture can only rely on the cultural connotation and essential characteristics of its own system, rather than what it is. In the three or four decades from the end of last century to the beginning of this century, French impressionism took the limelight in the world art circles, and the rest of the schools and painters seem to have eclipsed. Fortunately, the historical sinking and floating are never based on the moment of excitement. Northern German landscapes, once thought to have not contributed much to the development of new art since the end of the last century, are characterized by their gloomy, flat character and rich earthy atmosphere , Give us a real deep, rich and beautiful, do not have a taste.