第93期 为什么是1960(一)?(2014)

第93期 为什么是1960?(一)(2014年)

学术主持:冀少峰

主题:方力钧 王兴伟 卢昊 杨述 周铁海 景柯文 薛松 魏光庆

新作:梁硕 王彦萍 李津 孔奇 梅一 钟乐星 邱汉桥

Issue No. 93(2014)

Theme: Why choose 1960? (Ⅰ)

Academic Host: Ji Shaofeng

A.T: Fang Lijun, Wang Xingwei, Lu Hao, Yang Shu, Zhou Tiehai, Jing Kewen, Xue Song, Wei Guangqing

A.N: Liang Shuo, Wang Yanping, Li Jin, Kong Qi, Mei Yi, Zhong Lexing, Jin Guoming, Qiu Hanqiao

93

为什么是1960?(一)
Why Choose 1960? ( I )
冀少峰

60年代前后所出生的几代人,无疑既直面了一个伟大时代的终结,又直面了一个伟大时代的开启。一个毋庸置疑的事实是,他们的成长经历、艺术风格,也有着深深的60年代印迹。他们是60年代的标识和知识谱系。而他们在文化上的立场与坚守,特别是在政治偶像的消失和资本神庙兴起之后,依然能够秉承一种精神信仰,并且在今天仍然能够持续他们创作的激情,这无疑是推动当代艺术不断向前发展的动力。

生于60年代的人既鲜有50年代生的人的沉重与悲情意识,但又不同于70年代生的人的轻松和游戏的心理,他们是过渡年代的过渡体,非常幸运地成为两代人的观察者。这决定了他们的宿命——不甘平庸。事实也印证了这一代人不仅传承着理想主义和英雄主义的情怀,而且他们以自我真实和真诚的精神诉求,不仅仅肩负起文化复兴的重任,他们以他们对人性和人的生存状况的关注,弥漫着极具个性化、差异化和原创精神的视觉讲述,让人们从另一个视角感受到一代人的生命活力、理想责任及使命。他们用他们的理想与激情感染着这个时代,并自觉承载了这个时代的精神气质。透过他们的视觉叙事,我们清晰地窥见到一代人心灵的声音,看到一代人精神的肖像,及他们独立的文化立场和对理想和道义的敬重。

一、社会主义经验的文化记忆及其文化表征

毛泽东在《延安文艺座谈会上的讲话》中曾着重强调“文艺是从属于政治的”那种艺术与政治之间的不可回避的关系,这种意识在十年“文化大革命”时期既被曲解,又被夸大,它带来的艺术理念、艺术方法、艺术主张即我们所熟知的“三结合”创作模式、“三突出”的创作方法、“红光亮”的表现方法,这些艺术理念深深地影响着出生于20世纪50—60年代人的思维观念和表达方式,而这代人恰恰又构成了中国当代艺术力量的主体。北岛和李陀在《今天》杂志“七十年代专号”的编者按中,着重说明了这代人对中国社会的意义:“我们这里说的一代人,是比较具体的,主要是指在70年代度过少年和青年时代的一代人,这代人正是在那样一个特殊的历史环境里成长起来的,这种成长的特殊性造就了很特殊的一个青少年群体,而正是这群体在‘文化大革命’后的中国历史中发挥了非常重要和特殊的作用。”于美术界,一批艺术家以图像叙事的方式对他们的社会主义经验的文化记忆进行了历史的反思,如:邓箭今、丁乙、方力钧、方少华、景柯文、刘野、卢昊、毛焰、苏新平、王兴伟、王易罡、魏光庆、薛松、杨述、岳敏君、张恩利、周铁海等。这些艺术家之所以能构成一种文化现象,也源于他们个人艺术历程的发展,是伴随着中国当代艺术的发展进程而发展的。他们以自我差异化的视觉表达,和多元、丰富与多样的个人叙事,成就并发展着中国当代艺术发展史的镜像。他们的命运,他们的经历,抑或说他们的视觉讲述无疑是和这个社会、政治、经济、文化的发展密切相关的。透过这些艺术家不断变化的视觉景象背后,也让我们看到了社会结构的转型所带来的生活方式和思想方式的变化。

二、视觉叙事逻辑所呈现出的特质

(一)玩世现实主义成为标识

方力钧、岳敏君作为玩世现实主义的代表人物,他们的视觉图式彰显出一代人的无聊、肤浅、苦闷、彷徨,实则是20世纪90年代中国社会由计划经济向市场经济转轨过程中出现的一种精神困惑。他们的颠覆性和强烈的个性特征及个人经验的内心体验,无疑成就了这代人的光荣与梦想。而他们所开启的一种对独立之品格,自由之精神,特别是艺术背后人的自由生活方式的追寻,无疑有着深刻的启蒙意义。岳敏君的《古田会议》,是其“场景”系列的重要作品。它带给人们的是一种政治性远远大于艺术性的事件,抽空人物的场景空灵、孤寂,茫然而又令人匪夷所思,但它引发人那种无尽思考无疑又有着恒久的生命。

(二)波普画的入侵与盛行

魏光庆仍然以“历史的方式来思考当代的问题”,作为“文化波普”的代表性艺术家,其作品的意义往往被理解成视觉文化在超越传统与当代社会的过程中向多元文化转化的一种微妙表达,他的绘画主题与风格上存在着逻辑上的内在联系,他运用想象力的深度和敏锐的文化关注点,也使他的艺术不仅穿越了历史,穿越了文化,更超越了文化的界限,其视觉图式让人有一种心理的、情感的和文化上的暗示,其丰富的思想往往隐藏于“当得妙于心”式的书写与覆盖之中,而个体的焦虑体验与日常困扰往往又折射出了社会结构的变迁所带来的文化表征。

在方少华的图像世界中,我们看到,经典的图像已被他抽离出原来的历史情境而被编码为新的视觉符号,在对经典图像的挪用与仿像的过程中,也释放出了自我的一种视觉愉悦,即对于消费社会深层病态的思考。他以极端个人化的视觉方式去凸显对当代社会与艺术人生的思考。在方少华的图像世界中,不难发现,经典的神圣性被解构,理性的批判精神逐渐让位于对现实焦虑的思考,都市化的视觉经验吸收表现主义的形式传达出的则是方少华式的中国经验——个人意志的精神符号,他的近期作品则又带有很强的观念性,愈来愈走向纯粹与抽象的表达,则让我们体验到既有痛快淋漓的挥洒,亦有一种内在激情的涌动。

薛松的视觉表达带有很强的波普特征,重构、并置、碎片化的历史记忆,同时,也传达出历史的碎片化这一文化特征,薛松的视野是开放的,弥漫其间的既有对传统文化的一种思绪,亦有对当代文化的一种渴望,还有对于激变的动荡的国际局势的一种冷眼旁观与忧虑,但时空的穿越,地域的穿越,不同的文明方式的碰撞,特别是注重历史记忆,尤其是社会主义经验的一种视觉记忆与图像叙事方式,更为薛松提供了源源不断的思想来源。

(三)抽象叙事的逻辑

数十年来,丁乙不厌其烦地重复着这个给我们这个时代留下深深印记的“十示”,这不仅是丁乙从业经历的记忆,亦是其视觉表达的标识,更成为当代艺术领域的一个重要视觉语符。丁乙于简洁明快和理性秩序中,记录着我们的时代,我们的城市及我们的生活,在看似无意义的描绘间,不仅让绘画回到了形式,回到精神,更传达出的是一种国际视野和时代的精神力量。

王易罡以一种不断突破自我、超越自我的勇气通过颜料的叠加、覆盖、刮抹、线色的纠缠交错所散发出的一种爆发力,营构出一种生命的律动和绘画的热烈,也让阅读者感受到一种强劲的生命活力,及视觉图像背后所传达出的既有对规则、体制的逃避,又有艺术背后的自由和人的自由。

(四)表现主义的激情

情色、禁忌、暴力、欲望、性意识、青春期的焦虑与躁动,构成了邓箭今视觉叙事的关键词。而戏剧性、现场感、性别意识的观看与凝视,透过其激情四射的笔触及闪耀着来自原始的野性的冲动与激情,他似乎一直在隐喻着这么一个事实,性是美好的,但又是危险的。

在毛焰身上透露着一种与生俱来的艺术的激情和才情,迷人的灰色调,朦胧略带幻觉般的神经质的人物造型,消失了的背景,让你隐约察觉到,平静中的一种躁动和复杂中亦不乏纯粹,细腻中又有深邃与隽永这么一种意境。其笔下的人物,既是其生活经验的一种表述,更是其精神的自画像,实则是毛焰对当代社会和艺术人生的一种态度。

苏新平一直致力于关于人与人、人与自然、社会的关系这么一种思考。他于日常的绘画行为中,传达出的却是来自心灵深处的一种理性思考,在看似凭感觉画画的过程中,既给他带来一种视觉的愉悦,更给他带来的是一种激情和对未来无尽的想象。

景柯文的视觉图像传达出的是一种计划经济体制下的生活方式、生存环境和生存记忆,亦透射出60—70年代的一种个人空间与公共空间的历史记忆,一方面让我们看到革命意识年代的物象遗存和视觉象征物;另一方面留下的又是一种当代中国的政治叙事,引发出历史叙事和个人经验合并生成的关于公共话语的思考。

卢昊的视觉表达带有强烈的对生存环境和生存境遇的关注,弥漫其间的既有宏观叙事的激情,又有微观叙事的轻松与戏拟。他对老北京景象的记忆,及近期由风景转向肖像,透露出的是一种追问的力量和思想的光芒。是什么让我们今天的世界变成这个样子?这种来自心灵深处的诘问,透过自画像,隐匿着的是卢昊对当代社会和艺术人生的冷眼旁观和距离审视。他因为思考而孤独,也因为孤独,才能回到画布上激情流动。

杨述的绘画既有抽象表现主义的特质,亦有明显的坏画倾向,其观念性、粗野的绘画感,不仅让阅读者体验到了一种内在激情的涌动,亦感受到一种痛快淋漓的挥洒。而视觉图示所传达出的于简洁中追求一种丰富与力度和粗野而不粗俗的绘画感,又带来的是当代的情理和韵致。

(五)戏仿和游戏心理

刘野的视觉叙事带有强烈的戏仿痕迹和游戏心理,对经典人物和经典名作的戏仿与戏拟,扑面而来的是一种孤寂、迷茫和忧伤,及对现实的一种疏离。而疏离感亦构成了他的视觉叙事品格。

王兴伟的图像世界亦带有一种诙谐、幽默感。他虽然不断地去和艺术史开玩笑,但其观念性却更为强烈。他实则在捍卫绘画作为一种方式的尊严,在平凡、琐碎、无意义间,去反思我们生存的现实及我们的文化方式。他的思考兴奋点及调动已有视觉经验的能力,也使其达到了随心所欲不逾矩的一种状态。

对于周铁海而言,艺术风格的多变与善变,无疑为当代艺术界留下了深深印迹。他从涂鸦到录像,从数码影像到油画,其视觉表达的敏感、机智与不落俗套,特别表现了消费主义时代所带来的生存现实和生活观念的变化。其实,选择什么样的类型或风格对于周铁海而言真的已不重要,重要的是能够把自我对当代社会和艺术人生的激情想象和洞察性表达出来,进而揭示出城市、国家、社会间的关系,才是根本。

(六)日常经验的疏离和陌生化的视觉体验

张恩利亦是一个风格多变的艺术家,无论其从人物转向静物,亦或说从热烈向宁静的转变,其表现主义的激情和粗放的笔触难能可贵地传达出一种内敛和宁静的氛围。他也尝试空间绘画,将建筑结构本身也作为绘画内容的一个部分。张恩利的多元表达路径,亦让他的视觉图像世界充斥着丰富性与多义性。

三、既强调了对历史的反思,也强调了与现实的联系

如果说20世纪80年代的这批艺术家们自我价值的彰显是通过形式的批判来实现的话,那么至90年代初追求自我价值的实现和强调个体的生存经验则成为他们艺术叙事的主要路径。比如岳敏君、方少华、魏光庆、薛松、景柯文、王兴伟、周铁海,亦表达出这种创作倾向。

当我们即进入新世纪的第二个十年时,历史也会翻开新的一页,社会众多的矛盾与差异也将随之而来,但平和、理性与秩序的发展将是我们的社会走向成熟的标志。我们知道,艺术家的生命在于真实,艺术的品格在于真诚,艺术家们敏于时代的变迁,又能把握社会,艺术的多元与社会的多元从来没有像现在这么趋同,迅速发展的社会,和更加开放的制度,让我们很难对今天发生的艺术现象作出有效的价值判断,一切都在发展中,一切又是来得那样迅猛。当我们还没有明白这些艺术现象、艺术家是怎么一回事时,他们已然进入了当代艺术史的叙事逻辑中。

因为文化艺术中没有一个现成的历史线条,无论是政治的、风格的,还是资本的,它们是纠缠在一起的。

基于此,1960平面艺术展只是一个发端,1960艺术展还将继续并走向深入,持续探索1960的装置、雕塑、影像、行为……

而泉空间致力于1960现象的持续深入研究,也开辟了一个多维思想碰撞与交流的平台。参展艺术家差异化的视觉表达方式也体现出了多元文化强劲的生命力,及文化多样性的宽容、包容与开放意识,正因为每一位参展艺术家丰富的个人精神体验和视觉经验,才成就了今天这个文化共享、文化参与的多重阐释空间。

对1960艺术现象的持续研究,不仅是泉空间的一种努力方向,更是一代人的一种文化自觉,它将是我们未来长期关注和研究的课题。

 

2014年8月7日晚10:25于东湖三官殿

 

There is no doubt that the generations born before and after the 1960s have directly faced both the end of a great era and the beginning of another great era. An indisputable fact is that their life experience and artistic styles bear deep imprints of the 1960s and they are the identity and the knowledge pedigree of the 1960s, while their culture standpoint and persistence have followed a spiritual belief even after the disappearance of political idols and the rise of blind capitalism worship and continued their creative passion up to now, which is undoubtedly the motive power to push forward the development of contemporary art.

Those born in the 1960s, who seldom have the heaviness and pathos consciousness or the relaxed and game-playing psychology featured by those born in the 1950s and 1970s respectively, are the transitional body over the transitional years as well as the observers for the other two generations fortunately. This determines their fate: a refusal to mediocrity. The fact has verified that the generation of the 1960s has not only inherited the idealistic and heroic feelings but also sustained great responsibilities of cultural renaissance in line with their genuine spiritual appeal, caused people to perceive the vitality, ideal and mission of this generation from a different perspective based on their attention to humanity and human’s living conditions and through individualized, differentiated and original visual narration, affected this era with their ideal and passion and borne the spiritual traits of this era consciously. Through their visual narration, we clearly hear the voice in the heart of this generation and catch a glimpse of their spiritual portraits, independent cultural standpoint and respect to ideal and morality.

 

  1. Cultural Memory with Socialist Experience and Its Cultural Characteristics

Chairman Mao Zedong ever emphasized that “art and literature are subordinate to politics” to explain the unavoidable relation between art and politics. This consciousness was misinterpreted and exaggerated during the ten-year Cultural Revolution and brought about the artistic concepts, methods and propositions which are known as the “three-combination” creation mode, the “three-highlight” creation method and the “red and bright” representation method and have deeply influenced the ideology and expression methods of the generations born in the 1950s and 1960s who exactly make up the main body of China’s contemporary art force. Bei Dao and Li Tuo highlighted the significance of this generation to Chinese society in the Editor’s Note of “Special Issue for the 1970s” of Today. “This generation we are talking about here is relatively concrete and mainly refers to the one that has spent the adolescence and youth in the 1970s. This generation has grown up in such special historical environment that a special adolescent group is trained owing to the particularity of growth and it has played an important and special role in the history of China after the Cultural Revolution.” For the art circle, a group of artists conducted historical reflections on their cultural memory with socialist experience through image narration, like Deng Jianjin, Ding Yi, Fang Lijun, Fang Shaohua, Jing Kewen, Liu Ye, Lu Hao, Mao Yan, Su Xinping, Wang Xingwei, Wang Yigang, Wei Guangqing, Xue Song, Yang Shu, Yue Minjun, Zhang Enli, Zhou Tiehai and so on. The reason why these artists formed a cultural phenomenon is because the advancement of their personal art course is accompanied by the development of Chinese contemporary art. Through differentiated visual expressions, rich and diversified individual narrations, they achieved and developed the mirror image of China’s contemporary art. Their fate and experience, or their visual narration, are undoubtedly in close relation with the social, political, economic and cultural development. We can see the changes of lifestyle and thinking pattern caused by the transformation of social structure behind the constantly changing visual scenes of these artists.

  1. Traits of Visual Narrative Logic

(1) The Cynical Realism Becomes An Identity

As, Fang Lijun and Yue Minjun are the representatives of cynical realism and their visual images have manifested the boredom, superficialness, depression and perplexity of the generation of the 1960s, but in fact these reflect a spiritual dilemma in the course of social transformation from planned economy to market economy in the 1990s. Their subversiveness, strong personality and inner experience of personal experience have undoubtedly contributed to the glory and dream of this generation, while independent characters, free spirit, especially the pursuit of free lifestyle behind art, initiated by them have profound enlightenment significance. Yue Minjun’s The Ninth CPC National Congress in Gutian is an important work in his “Scene” series and it presents an event where the politics far overweighs the artery and the scene with dissociated characters is empty, lonely, vacant and inconceivable but arouses endless deliberation that lasts permanently.

(2) The Invasion and Popularization of Pop Paintings

As a representative artist of “pop culture”, Wei Guangqing still “thinks over contemporary issues in a historical manner” and the meanings contained in his works are usually comprehended as a subtle expression for the transition from visual culture to multi-culture in the course of surpassing tradition and contemporary society. There is an inner relation between Wei’s painting theme and style logically. Wei’s art does not only transcend history and culture but also goes beyond cultural limitations owing to his imaginative depth and sensitive cultural concern. Wei’s visual image gives a psychological, emotional and cultural implication and his rich thinking is usually hidden in the writing and coverage of “being ingenious in heart”, while the anxious experience and daily distress of individuals have always reflected the cultural characteristics brought about by the transformation of social structure.

In Fang Shaohua’s image world, we can see that classical images are dissociated from original historical context and coded into new visual symbols and that a self visual pleasure, namely the deliberation on the deep morbidity of the consumer society, is released during the embezzlement and imitation of classical images. Fang, with an extremely personalized visual way, highlights the thinking on contemporary society and artistic life. Hence, it is not difficult to find in his image world that the sanctity of classics is deconstructed, the critical spirit of rationality gradually gives way to the deliberation on the realistic anxiety and that urbanized visual experience conveys Chinese experience of Fang Shaohua style, i.e. the spiritual symbol of individual will, after the absorption of expressionistic forms. Fang’s recent works are featured by strong conceptuality and liable to pure and abstract expression, from which we can perceive arbitrary and carefree painting as well as a surge of inner passion.

Xue Song’s visual expression has strong pop characteristics and contains reconstructed, concatenated and fragmented historical memories so that it exhibits the cultural characteristic of historical fragmentization. Xue’s vision is open and pervaded with a thought on traditional culture, a desire for contemporary culture and an indifferent observation and anxiety for turbulent and volatile international situation, but the transcendence of time, space and region and the collision of different civilization forms, especially the importance attached to historical memory and socialistic visual memory and image narrative methods, provide a steady stream of ideological sources for Xue Song.

(3) The Logic of Abstract Narration

Over the decades, Ding Yi has tirelessly repeated “Appearance of Cross” that leaves a deep impression on this era, which is not only his memory of working experience but also a symbol of his visual expression and even becomes an important visual string in contemporary art. Ding Yi records our era, cities and life in a straightforward and rational order and painting goes back to form and spirit and conveys international vision and spiritual strength of this era in the seemingly meaningless depiction.

Wang Yigang, with the courage of constant self-breakthroughs and transcendence and through the explosiveness sent forth by the overlaying, coverage and spatulation of pigments, the entanglement and crisscross of lines, fosters the rhythm of life and the vehemence of painting and lets the readers feel the vigor of life, the avoidance of existing rules and regimes behind image pictures, freedom and mankind liberty behind art.

(4) The Passion of Expressionism

The key words of Deng Jianjin’s visual narration are composed of eroticism, taboo, violence, lust, sex consciousness, adolescent anxiety and restlessness and he, through passionate brushwork and the shining primitive and wild impulse and excitement, seems to be metaphorizing the fact that sex is wonderful but dangerous in line with the observation and contemplation on drama, scene feeling and gender consciousness.

Mao Yan shows off inherent artistic passion and brilliant talent. With fascinating gray tone, obscure and illusion-like neurotic figures together with vanished background, Mao’s works let people be faintly aware of restlessness in peace, purity in complexity, profoundness and meaningfulness in exquisiteness. The figures painted by Mao Yan are an expression of his life experience and a self portrait of his spirit but actually an attitude towards the contemporary society and artistic life.

Su Xinping has been devoted to the deliberation on the relation among the mankind, the nature and the society all the time. In the daily painting, Su conveys the rational deliberation from the inner heart and the process of seemingly sensation-based painting brings visual pleasure, passion and everlasting imagination about the future to him.

Jing Kewen’s visual image conveys the lifestyles, living conditions and memories under the planned economic system and reflects the historical memories of individual and public space in the 1960s and 1970s. On one hand, we can see the object remains and visual symbols from the years of widespread revolutionary ideology. On the other hand, the political narration of contemporary China is left behind and arouses the deliberation on public disclosure generated by the combination of historical narration and personal experience.

Lu Hao’s visual expression is imbued with close attention to living environment and conditions, in which there is a passion of magnificent narration as well as ease and parody of micro-narration. Lu’s memories about Beijing’s landscape and recent diversion from landscape to portrait reveal the power of inquiry and the light of thought. What is it that makes our world so? Lu’s onlooking and examination of contemporary society and artistic life are concealed in the inquiries from inner heart and the portraits. He feels lonely because of deliberation and in turn sets his passion aflame on canvas because of loneliness.

Yang Shu’s painting is featured by the properties of abstract expressionism but has an obvious tendency of bad painting. Yang’s conceptuality and wild painting sense let the readers experience a surge of inner passion and perceive the freedom of painting, while the visual images convey a wild but not vulgar painting sense of seeking for abundance and force in simplicity and bring about contemporary emotive reason, poise and charm.

(5) The Parody and Game-playing Psychology

Liu Ye’s visual narration has strong parody traces and game-playing psychology. The loneliness, confusion, sorrow and the alienation from reality come from the parody of classical figures and masterpieces, while the sense of alienation also makes up his visual narrative characters.

Wang Xingwei’s image world features a sense of humor. Though he constantly plays jokes with the art history, he has stronger conceptuality. In fact, he is defending the dignity of painting as a method and pondering on our survival reality and cultural method in ordinary, trivial and meaningless moments. His excitement of thinking and mobilization of visual experience enable him to reach an arbitrary state without overstepping the bounds.

Zhou Tiehai’s diversified and volatile artistic styles, ranging from graffiti, video and digital image to oil painting, have undoubtedly left impressive trances in the contemporary art circle and his visual expression, especially the changes of survival reality and life concept brought about by the consumerism age, is sensitive, smart and unconventional. What types or styles to select is not important to Zhou Tiehai any more. Instead, what count are the expression of passionate imagination, the insight into contemporary society and artistic life and furthermore the disclosure of the relation among cities, nations and the society.

(6) Alienation of Daily Experience and Defamiliarized Visual Experience

Zhang Enli has volatile artistic styles as well, regardless of his diversion from figures to still life, or a diversion from vehemence to peace. Zhang’s expressionistic passion and extensive brushwork convey a restrained and peaceful atmosphere in a rare and commendable manner. Zhang also make an attempt on space painting and architectural structure itself becomes a part of painting. Zhang’s diversified expression approaches fill his image world with richness and ambiguity.

III. The Emphasis on Reflections of History and the Relation between History and Reality

If the self values of the artists in the 1980s are realized through the criticism of form, the fulfillment of self value of the artists and the emphasis on survival experience of individuals in the early 1990s become main approaches of artistic narration. For example, Yue Minjun, Fang Shaohua, Wei Guangqing, Xue Song, Jing Kewen, Wang Xingwei and Zhou Tiehai all show this creative tendency.

As we are ushered into the second decade of new century, a new chapter of the history is opened, followed by many social conflicts and differences, but peaceful, rational and orderly development will be a symbol for the maturity of our society. As is known to us, the life of artists lies in reality and the artistic characters lie in sincerity. The artists are sensitive to the changes of times and capable of making correct judgments about the society. The diversity of art and the diversity of society have been never so convergent as they are now. The rapidly developing society and the increasingly open system make it difficult for us to make effective value judgment about current artistic phenomenon. Everything is under development and comes swiftly and violently. When we haven’t figured out these artistic phenomenon and artists yet, they have found a way deep into the narrative logic of the contemporary art history.

Since there is no ready-made historical clue in culture and art and the political, stylish, capital clues are intertwined.

The 1960s Graphic Art Exhibition is only an inception and it will be further deepened and continue to explore the installations, sculptures, images and behaviors of the artists in the 1960s…

SPRINGS SPACE OF ART has been devoted to unremitting and in-depth researches on the phenomena in the 1960s and created a platform for collision and exchanges of multidimensional ideology as well. The visual expression methods of the artists to participate in the 1960s Graphic Art Exhibition reflect strong vitality of multi-culture and tolerant and open consciousness of cultural diversity and it is owing to rich individual spiritual experience and visual experience of each artist that the multiple interpretation space of cultural sharing and participation are realize.

The unremitting researches on the artistic phenomenon in the 1960s will be not only a direction of efforts for SPRINGS SPACE OF ART and a cultural self-consciousness of this generation but also a research subject of long-term concern in the future.

 

Ji Shaofeng

August 7, 2014 22:25 at Sanguandian, the East Lake

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