Page 220 - 亚洲二十世纪及当代艺术

“Painting must have feeling,
it must resonate with one’s
own heart. Only with a lively
inner self can creativity
remain alive, and only then
can the painting always
remain alive.”
{{ Liu Wei
After experiencing the rise of the
avant-garde in the 85 New Wave
and the collective contemplation
of the 1989 China/Avant Garde
exhibition, Chinese contemporary
artists in the 1990s gradually
achieved a leap towards an
international perspective,
undergoing a transformation
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Ъdஃᚆෳतݾдਔਔ - Ϸਔ௹ي᎜ᔛ
ɻ཭ߕஔ᎜ᔛ
ɻ཭ ߕ ஔ ᎜ᔛ Ъ dஃ ᚆ ෳ त ݾ д ਔ ਔ - Ϸ ਔ௹ ي ᎜ ᔛ of thought, change in form,
and multiple influences from
׵ӽ྅˴ᕚdνϘಂՈ݁طܠ፫ٙ˜ࠧն࢕ࢬ™ӻΐd˜ɛ™݊˼ɓٜชጳሳٙ˴ᕚdϾ reality. They bid farewell to their
ί 2009 ϋd˼̤ᚠᒌࢰή͂ॎɓٜ˸Ըί೥̺ձॷ͉ɪٙ೯౨dΫ๑੽ኪ͛ࣛ˾کኸ previous explorations of history,
ڗٙ˝Սd࢝ତՉɦɓᖵஔᜳΈf
philosophy, and value systems,
ί༈ϋd˼˸Չक़ܰeйՈၚग़׌ٙᖵஔ࢕૕৷€Vincent van GoghʘΤЪඉࢨኁ realising that “only by truly facing
؍‘މᔝ͉d˸Չ̷ܠࠠอစᖫd௴Ъə 1 షልΥదҿ˝ؐձ 4 షॷɪЪۜdնΤމ one’s own helplessness can one
˜૕৷ٙ೥™fίϤӻΐЪۜʕd˼΋፯՟ɓ෯˝ؐމҿd຾ɓഅഅٙ୚ᇘᎉՍd˸௰މ save oneself.” Hippie and self-
ၚᔊٙᇞૢdӪӪҪ౥ИࡡЪ˴ɛʮໝ໓ɽᗻٙҖ൥तᓃձඉࢨٙԒ΅तᅄd৷ܓᒔࡡ mocking expressions became a
ə૕৷ʘЪfՉܝd˼ضഹ˝Սජࠦٙڌᄴ७༩dՏɪΙوٙ͜ذኈdν˸ෂ୕ᖭ೥ʕ new window for many artists to
express themselves, reflecting
ٙೲجছdяତ̈༸༸ʱ׼ٙ୑ྼᇞૢdਗ਼ɛيٙग़࿒ࠦႶଉଉΙՍίЪۜʘʕfආϾ on and making fun of their
Ύ˸Ϥ˝ؐމֵوdΙႡ 4 ੵو೥dԨ׵Ιᇃɪʱй౜ᖭ˴ɛʮ 4 ၇ʔΝٙग़࿒d࿴ϓ own realities, metaphorically
ӻΐʘᐑf͟Яᅃᘴਿږึϗᔛٙ૕৷ٙ೥ 2‘уމӻΐʕٙୋɚ΁ॷ͉ʘЪfϾ݊ embedding their thoughts
ϣɪשٙ૕৷ٙ೥‘€שۜᇜ໮ 52dуމ༈ӻΐਬɓd˲௰މޜ൮ٙልΥదҿ˝ؐʘ on society and themselves in
ЪdԨމՉʕ୚ື௰ᔮబe࿴ܠ௰̷ѶeҖ൥௰ՈतЍʘࠠࠅ˾ڌf symbolic artistic language.
٤уމЍdࠠ෧ӽ྅ٙІ͟ൖ௉ Thus, two of the most important
ar t f o r m s o f 9 0 s C hin e s e
ԫྼɪd૕৷ߘඉࢨ™ӻΐЪۜʕdɰ׵ 1888 Ї 1889 ϋග΋ܝ௴ிə 5 షذ೥ၾ 2
ష९౜˓ᇃd7 ΁Ъۜٙ࿴ྡɤʱڐЧdШߠ౻Ѝ੹ձग़࿒ٙՍ೥ۍɽ޴ࢰࢬdяତ࿚ contemporary art, “Political Pop”
and “Cynical Realism,” were born.
್ʔΝٙࠦႶd͜˸ဂ཰Չɛ͛ʕйՈ๝ઋٙλʾfᄎ⑸༈ӻΐٙ௴ЪၾʘҖϓϞሳٙ The Venice Biennale in 1993 and
խᏐfҁϓ˜૕৷ٙ೥™ӻΐॷɪЪۜܝdᄎ⑸ΫՑϤ΁˝ؐЪۜɪd˸ذ੹e˥ኈΎ 1995, the 1993 travelling exhibition
૴̋һε୚ືfνߠ౻̙Ԉᄎ⑸ό˜ᆖᙻஈᜮࣹ߰ҽ™ٙ౴ᙴͣڀd͍቗௓׵ɛيԒܝd China’s New Art, Post-1989, and
Ԩ߉ॎ೥ːᓒ࢝Ї೥࣪ʘɪd߰މڀϢᓃڥ͛նɢছַၧ͛ڗfϾ০࿁ɛي࢙ٙࠦd˼ the following year’s Sao Paulo Art
̈ɛจڌή˸˜वͣ™ஈଣfᔟ͟வɓዹՑٙڌࠑdᄎ⑸จίॎৰӽ྅೥ٙ੬஝ાԫd Biennial gradually gained them
˸Սจᒯ̘࢙ٙࠦdᓒ࢝ə೥ࠦٙซ൥٤ගd˿ᝈ٫੻˸̮͟Ͼʫή̘ˀܠeҳ࢛೥ʕ attention and recognition in the
ɛٙग़ઋdԨක׳׌ήਗ਼ʘܸऒމίɛ͛ʕ੭ഗЫ๝าٙӊɓࡈɛf̤ɓ˙ࠦdᄎ⑸ආ international stage, receiving
ɓӉ˸ཬሳٙ۶࿒dߧหдਔਔ - Ϸਔ௹ي᎜ٙඉࢨኁ؍ٙӽ྅‘ʕ૕৷הᒯўٙː much attention from the West.
ଣڌࠑdۍɦί͉࣬ɪॎৰəவ၇ၚग़ڌ༺fί૕৷ٙЪۜʕdߠ౻ٙͣڀ७ུձၠЍ Among them, Liu Wei, the pioneer
ሜٙ૶อߕλdจίމ೥ʕɛᄣ૴࢙Έd੽Ͼ࢝ତՉౕࣀᛇؚٙːଣً࿒fϾᄎ⑸ɽᑔ and important representative
ή˸ͣ੹Ъ಩ݑdԨɓ֛೻ܓήڭवəࡡ͉˝Ѝձ˥ኈٙਿሜd˿ɛيٙቃ࿊ί˝Սձ of “Cynical Realism,” played a
ኈ˥ٙഅᙃʕίϤһމ߉̈d੽ϾЪ̈ԸІᖵஔ࢕௴Ъɢٙ੶ɽᙕࠑd˸ҿ͉ࣘԒٙሯ role in the above-mentioned
ήdϓމᝈ଺༆ᛘᖵஔٙˏ༩ɛf important exhibitions and is
honoured as the most talented
Ꮠձഹɨ˙ᕚᄳٙ˜૕৷ٙ೥™dЪۜܦνΝɓహ˜˸ॎމͭٙอό຅˾ӽ྅™dίᄎ⑸ artist in contemporary China. With
˜Ңഒʔ࢙Ҝࠠል™ٙ܁Ԋɨd͂ॎ૕৷ࡡ͉ٙાԫ٤ගdϾዓͭৎʔա׭Ҽe˜٤͵݊ his natural talent, keen insight,
Ѝ™ٙᘰॸഘᙻfϾᆵ࣬፹ືٙೌЍڀ໢d͍ܙ೥̮ʘɛމʘ૴Ѝe೯౨௴ிdഅᙃᎇ and playful and mischievous
ːྤϾᔷdɓνԟַ࢝ٙᕐ໔ձ،ૢdί೥࣪ʕᇨᇨৎႀdൡႭഹ˸̚ᄳʦeΎி৻տ demeanour, he boldly challenges
ٙ˜փܠᖵ൥™f the boundaries of form in the field
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