摘要
《艺术当代》想召集一些批评家和艺术家讨论当代艺术蜕化的问题．向我约稿．我很犹豫。如果仅仅简单地从批判当今艺术生态的现状出发．话题就很难展开。毕竟我只是一个画家．我更关，心的是我个人的创作．这样一个宏大的命题由批评家来谈更专业．脉络也更清晰．而且现在重要的是：真正的批评要出场。说实话．近十年我听不到批评的声音．
The degradation of contemporary art is a professional topic, which is more suitable for critics to talk about. After all, I am a painter and pay more attention on my own creativity. What is important now is that we need true criticism. Actually I have not heard the voice of criticism in the recent ten years. But during the period from ＂New Trend of Fine Arts＂ to the middle 1990s, we often heard loud and strong voices of criticism, which evidenced the enthusiasm about art and the sincere care for art creativity and development. However, now these voices were outplayed by a sort of external excitement aroused by global market integration and successful market management. Actually, viewed from the inside of art, I think this ten years is a comparatively silent and hibernate academic period, though the influence of Chinese contemporary art becomes wider and wider at home and abroad during the ten years. However, we can clearly find that many of these works which win wider acknowledgements were created ten years ago.
Embarrassingly, today if we want to discuss some questions besides ＂market＂ and ＂success＂, we don＇t know what to say. So we find a breakthrough simultaneously： clearing up history. This is a common trend recently. We begin to ask： how does today come into being？ Why does today exist？ Why do we not know what to say？ When there is a must to retrospect to the early history, it shows there are problems today. Just imagine, if we do not feel emptiness and crisis today, then history could be temporarily forgotten, and even be erased.
出处
《艺术当代》
2007年第4期32-34,共3页
Art China
