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在当代艺术发展到今天,艺术语言不再是“罢黜百家,独尊儒术”式的单一状态。曾经尊奉黑格尔“否定之否定”的减法式美学概念的我们,开始慢慢意识到这是不对的思维方式。在当代艺术发展到今天,艺术语言不再是艺术家简单地停留在形式的表现和探索之上,而是艺术家面向生活时以一种个人经历进行艺术表达的必要手段。个人经验具有多重意义,它不仅包括社会与文化所规定的具体的生活经验,也包括艺术家的创作经验。每个艺术家都以自己独特的眼光来审视自己的生活,体会身边的人情冷暖,用自己的方式来物化自己的生活经历和情感表现,形成了自己的艺术语言表现形式。以这种语言方式诞生的作品,我认为,不再只是简单的形式与风格问题,也包括了艺术家本人的生活体验、人生哲理和社会评论。
In the contemporary art development today, the language of art is no longer the single state of “eliminating one hundred, monopolizing Confucianism.” We, who once respected Hegel’s Negative Negativeism concept of aesthetics, began to slowly realize that this was an incorrect way of thinking. In the contemporary art development, the language of art is no longer the artist simply staying on the form of expression and exploration, but the necessary means for the artist to express his art with a personal experience when facing the life. Personal experience has multiple meanings. It includes not only the specific life experience prescribed by society and culture, but also the artist’s creative experience. Each artist looks at his own life with his own unique vision, appreciates the warmth of human relations around him, and uses his own way to materialize his own life experience and emotional expression, thus forming his own artistic language expression. The works born in this way of language, I think, are no longer just issues of simple forms and styles, but also include the artist’s own life experience, philosophy of life and social commentary.