现代性错位：对中国当代艺术叙事的反思

The Dislocation of Modernity： The Reflection on Chinese Contemporary Art Narration

我曾经在《整一现代性：中国现代性的逻辑》一文中分析了现代性实际上是一种文化交流的错位现象．现代性既不能以现代化输出一方的现代性判断作为绝对的国际标准．也不能把引进现代化的在地的现代性取向看作完全的本土标准。他们双方是互为参考和相互修正的。

The ＂Scar＂ Realism appeared in 1979 is the accusation to ＂Cultural Revolution＂, However, without the consciousness of self- reflection and self-criticism, it ended up in self-pity and mercy-begging, and came back to affectation, which was finally co-opted with mercantilism and academicism. The Cynic Realism appeared in early 1990s and challenged heroism and dogmatism with the attitude of ＂self-mockery＂ and ＂cynicism＇; winning the title of ＂avant-garde＂ with its roguish and rebellious posture. It has its own critical value in the special Chinese local context in the early 1990s, but quickly sank into narcissism display, repeated production, frivolous behavior and garish pattern, becoming the mainstream to flatter market system and colonial discourse. Looking back on all kinds of popular realisms in 20th century, especially during the past 20 years, we can find that popular realistic art can not get rid of the tempt of utility, which either tends to mass popularity, or yield to system and market power. The realism in China reflects the dislocation of modernity. On the other hand, we can know another kind of dislocation of modernity from the value judgment of western contemporary art system and market on Chinese contemporary art. The core value of western modernism aesthetics is transcendence, the transcendence to visual world, the transcendence over the realistic world. This transcendence is realized through extreme individual experience. Thus, philosophizing, mystifying and conceptualizing become the basic theme of modernism art form. With this theme, modemism opposes any kind of direct imitation of reafity. Though post-modemism has entered China in the 1980s, the whole cultural value core in 1980s was, to a larger degree, modernism, advocating elitism, idealism, structuralism and original culture. Post-modernism at that time appeared in China as a part of Chinese modernism culture in 1980s instead of the original cultural form after western modernism. To Chinese intellectuals, post-modern- ism appeared more as skepticism and multiple cultural choices, which conformed to the demands of Chinese modernism in 1980s. The problem about history writing is very complex, and the theme of this article is that in today＇s China, we must strive for anyone＇s legality of history writing through scientific system and open mind. （Fundamentally, the legality of history writing is the legality of history）. The legality of history writing doesn＇t mean that this kind of writing is the paradigm of history writing, instead, only the legality of history writing exists, can we transfer materials, documents and news to historical facts, make these historical facts to be a complete history, and can writings about modern and contemporary writing be strict historical science.