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借用“互动”这一网络词语来宣示一个中国画展览,本身就阐释了展览在策划上的立意:主动地相互交流和相互促进。 说得直白点,是“树挪死、人挪活”,不挪不动不主动是万万要不得的,这就是在中国当今的艺术格局中,长江上中游地区中国画以及创作者的命定。因为无论从中心主义的标准、权威的话语来说,还是从集权中心的资讯、资源的占有而言,这一地区的中国画创作从整体上处于“边缘”状态。 “中心”与“边缘”的关系,就象网络、电脑及其看不见的数码、比特,把个体通过一台台电脑连接成新的网络世界。这个世界由无数多的节点构成,而只有这么多节点的构成,才得以支撑起这个世界,其间,每一个节点都是中心,都为边缘,因此消解了中心,消解了边缘,而自成一个圆满的世界。
The use of the word “interactive” to declare a Chinese painting exhibition itself illustrates the planning conception of the exhibition: to take the initiative to exchange and promote each other. To put it bluntly, it is “the death of the tree and the death of the people, and the removal of the living”. It is absolutely necessary to not move or not take the initiative. This is the fate of Chinese paintings and creators in the upper and middle reaches of the Yangtze in China’s current art landscape. Because no matter from the standard of centralism, the authority of the discourse, or centralization of centralized information resources, the possession of resources, the area of Chinese painting in the overall “marginalized.” The relationship between “center” and “periphery”, like the network, the computer and its invisible digital and bit, connects individuals through a computer to form a new online world. The world consists of an infinite number of nodes, and only the composition of so many nodes can support the world. In the meantime, each node is the center and the edge, so it dispels the center, eliminates the edge and forms a self A perfect world