【摘要】：正【是的,我重復(fù)但是,正如大海重復(fù)著浪濤那浪濤依舊,卻不是同樣的浪濤】——阿多尼斯作為"70后",周虹的藝術(shù)很早就擁有了相當(dāng)獨特而成熟的藝術(shù)個性與語言方式。在中國當(dāng)代藝術(shù)界,周虹的藝術(shù)價值顯然與她對波普藝術(shù)的圖像重構(gòu)與語匯創(chuàng)新密切相關(guān)。一方面,周虹延續(xù)了武漢波普藝術(shù)的創(chuàng)造路徑,另一方面,又以新的視覺經(jīng)驗對其進行了大膽的語匯創(chuàng)新。與世界各國相比,20世紀中國藝術(shù)的政治敘事和"歷史化"面容過于僵硬,確實需要消費社會的時尚商品和視覺經(jīng)驗來消解和重構(gòu)。這也正是"后89"中國當(dāng)代藝術(shù)以王廣義、余友涵等為代表的"政治波普"興起的時代語境。緊接著,隨著西方后現(xiàn)代主義藝術(shù)與美學(xué)的傳播,魏光慶、李山等進一步推出"文化波普"。
[Abstract]:Just [yes, I repeat, but just as the sea repeats the waves still, but not the same waves]-Adonis, as a post-70s, Zhou Hong's art has long had a rather unique and mature artistic personality and language style. In the field of contemporary Chinese art, Zhou Hong's artistic value is closely related to her image reconstruction and lexical innovation of Popper art. On the one hand, Zhou Hong continued the creative path of Wuhan pop art, on the other hand, he made bold lexical innovation with new visual experience. Compared with other countries in the world, the political narrative and "historicalization" of Chinese art in the 20th century are too rigid, and it really needs the fashion goods and visual experience of the consumer society to dispel and reconstruct. This is also the context of the rise of "political pop" represented by Wang Guangyi and Yu Youhan in the post-89 Chinese contemporary art. Then, with the spread of Western post-modernism art and aesthetics, Wei Guangqing, Li Shan and other further launched "Cultural Popper".
【作者單位】： 四川大學(xué)藝術(shù)學(xué)院;
【基金】：2012年度教育部人文社會科學(xué)研究規(guī)劃基金項目(批準號:12YJA760044) 四川大學(xué)中央高校基本科研業(yè)務(wù)費研究專項項目(skqy201204)階段性成果
【分類號】：J05
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本文編號：2443354