韩朝画语——兼谈艺术在中国当代语境中所经验的多重焦虑

Han Chao's Art of Painting and Multiple Anxiety that Art Has Experienced in China's Contemporary Context

在百年现代化过程中,人文与艺术在当代世界正经验着普遍焦虑,存在于艺术、政治、经济和哲学之中。韩朝将自身艺术创作有意识地置于理性观照与历史脉络之中,以艺术语言创新的方式消解诸种焦虑。当代艺术面临的更大的挑战与所经验的更深层焦虑,是本文重点所在,不是上述艺术传统的,政治经济的,而是哲学的,即是由近代以来普遍话语的丧失造成的焦虑。近代以来,中国文化主体性渐失,中国的一整套知识系统,包括艺术,只能作为由西方普遍性理论来进行阐释加工的"特殊性"存在。当代艺术要消解自身身份的焦虑,彻底治愈由失语症引发的焦虑,必须通过创新艺术的元语言,介入事关现代人生存的本体性焦虑,在熙熙攘攘的繁华浮世提供一片形而上冥想的空间。

In the century-long process of modernization,humanities and art are experiencing universal anxiety in the contemporary world, which exists in art, politics, economy and philosophy. Han Chao lays his own artistic creation consciously in the context of rational contemplation and historical line, trying to eliminate various anxieties with innovative artistic language. This paper focuses on the greater challenge and deeper anxiety that contemporary art faces. They are not art traditional, political, economical anxieties as mentioned above, but philosophical anxieties, that is to say, the anxieties caused by the loss of the universal language in modern times. With the gradual loss of Chinese culture's status as a main body in modern times, China's complete set of knowledge system, including art, can only exist as a 'particular' case to be defined and interpreted by universal theories of the West. If contemporary art is to dispel the anxiety about its own identity and completely cure the anxiety caused by aphasia, it must intervene in the ontological anxiety relating to the survival of modern people and provide a space for metaphysical meditation in the bustling world by innovating the meta-language of art.