进入九十年年代的装置艺术有了自觉的意识,艺术家中有不少人认识到非架上的媒介艺术已在现实生活中有了深厚的物质基础,媒介的物质上的物理属性和在现实时空中的存在,有着比架上的平面绘画传承语意所不可替代的直接性、明确性和生动性。它在很大程度上改变了惯常的题材加技法的平面绘画方式,也改变了在二维平面中制造三维幻觉幻象的审美模式。换句话说,不少艺术家思考中国当代艺术的发展前景,架上绘画的语言容量和视觉可能性越来越难以找到更大的突破口,艺术实现创作自由的途径还有没有新的可能?因而,用现成品或综合材料来制作装置,是大多数艺术家脱离开架上绘画的创作手法,转而寻求新的表现媒介后最先经历的一步,而随着近几年大量装置艺术作品的出现,中国当代艺术的发展被提示出了一种新的思 Since 1990s, installation art has been consciously conscious. Many people in the artist have realized that non-shelved media art has a profound material foundation in real life. The material physical properties of the media and the reality The existence in time and space has the directness, clarity and vividness that are irreplaceable to the plane painting tradition in the frame. It has largely changed the traditional theme-plus-plane approach to painting and changed the aesthetic mode of making three-dimensional illusions in two dimensions. In other words, many artists think it is more and more difficult to find a bigger breakthrough in the development of Chinese contemporary art. It is still not possible for art to realize its creative freedom. Therefore, Making the device from ready-made or composite materials is the first step that most artists took after they left the shelves and turned to the new medium of performance. With the advent of mass installation works in recent years, China The development of contemporary art has been prompted a new thinking