“当代艺术”的“同质多样性”

The “Homogeneous Multiplicity” of “Contemporary Art”

全球“当代艺术”景观是否真正体现了“文化多元”?“文化多元”究竟是一个共同趋向的真实目标,或者仅仅就是西方艺术界高举的一块招牌?西方当代艺术在策展体制和文化扩张的双重作用下充斥世界的各个角落,那么,“中国当代艺术”的登场似乎是一种“双向需要”的结果。但这一切的背后是否还有更加意味深长的原因?

Is “Cultural Multiplicity” realized in the scene of global “contemporary art”? Is “Cultural Multiplicity” a real objective for all cultures or merely a signboard held high in Western art? In the double function of curatorial system and cultural expansion of contemporary Western art, the presence of “Contemporary Chinese Art” seems to result from a “two-way need.” But behind all this, is there a more profound reason?