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激变中的求索 90年代,中国雕塑界正处在令人鼓舞的激变当中:一方面,在长期封闭和压抑的沉寂之后,雕塑家们已开始走出本体内循环式的职业圈限,他对传统的雕塑持理性的批判态度,对各种新的观念性的尝试充满热情,在与各种观念艺术的对话和感悟过程中,创作出了一件件激动人心的实验性艺术作品,涌现出一批勇于创新、锐意探索的雕塑家;另一方面,艺术批评的介入,又使得雕塑艺术在观念层次上有了某种理论性的导向,形成了艺术批评与艺术创作共生发展的最新趋向。 一系列的事件引起我们的关注: 1995年8月在北京成立的三人联合工作室(隋建国、展望、于凡),不仅从事着雕塑本体意义上的理论研究和创作实践,同时还在观念艺术的领域进行着前卫性探索,他们在即将作为废墟的中
In the 1990s, the Chinese sculpture world was in the midst of an encouraging transformation: on the one hand, after a long period of closed and repressive silence, sculptors have begun to emerge from the circular occupational circle of the body, Is full of enthusiasm for all kinds of new conceptual attempts. In the process of dialogue and perception with various conceptual arts, he created an exhilarating experimental work of art, On the other hand, the intervention of art criticism makes the sculpture art have a certain theoretical orientation at the conceptual level, forming the latest trend of the symbiotic development of art criticism and artistic creation. A series of events aroused our concern: the three-person joint studio (Sui Jianguo, Prospect, Yu Fan) set up in Beijing in August 1995 not only engaged in theoretical research and creative practice in the sense of sculptural noumenon, Avant-garde exploration of the art arena, they are about to be among the rubble