| 1984-1985 is regarded as the beginning of China’s new enlightenment,and the ’85 art movement was launched under this background.It is not only the product of China’s New Enlightenment era,but also the specific content of this era.Its biggest characteristic is not that it produces all kinds of substantial works of art,but that it produces a large number of discourses or symbols in a short period of time.These symbols and discourses have become a major difficulty in the study of ’85 art movement.Many studies,which are limited to the discipline of art history or their perspective in a short time,are often unable to properly deal with this kind of discourse production.Generally speaking,the study of the history of thought in the 1980 s only regards the’85 art movement as the background of the history of thought.Along with the ’85 art movement came the idea that it was a simple imitation of western modern art,and little thought was given to whether the artists’ understanding of western modern art in the’ 85 art movement was transparent and disintermediated? To be more precise,is there a logical relationship behind the discourse production of the ’85 art movement,which is regarded as a concept bombing? in my investigation,I found that the discourse framework of "modern","traditional" and "human" which were shared by all walks of life in the 1980 s and belonged to two themes dominated the discourse production of the ’85 art movement.More importantly,after the1990 s,although the’ 85 art movement itself seemed to be a sealed up history,the ’85 art movement itself was still in its infancy,The historical narration rooted in the discourse structure of the ’85 art movement has become the "ghost" behind the self narration of contemporary art.To a certain extent,the ’85 art movement has become a kind of problem consciousness,which can not be bypassed by all the historical writing that intends to locate the modern and contemporary art of China itself. |
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