水墨不再是一种策略

Ink Painting Is No Longer a Strategy

21世纪以来学者们开始对中国当代水墨的创作进行学术清理,策展人用丰富的作品向我们展现了当代水墨创作跨界融合、多元并存的现状,揭示出中国当代水墨创作从各种"主义"走向"再中国化"的主体性建构的趋势。水墨在不断地"定义"中,很多时候已经不是一个简单的媒介或者画种概念,而是一种代表着中国文化身份和文化资源的文化符号。与那些不断在本体语言上进行探索同时发生的是,在全球视野下一些当代艺术家亦将其作为一种资源进行当代转换,可以说这些新的探索既是对传统的一种审视与"再定义",也是一种对传统的挖掘和继承,当代艺术家运用"自己"独特的语言方式来建构其自身的文化主体、文化身份与艺术史。

Since the beginning of the new century, scholars have begun to carry out academic combing of the creation of contemporary ink painting in China, and curators have shown us the current situation of multi-disciplinary integration and pluralistic coexistence of contemporary ink creation with various works, revealing the trend of the subjectivity construction of contemporary Chinese ink painting from various "isms" to "re-sinicization". In the continuous "definitions" of ink painting, it is no longer a simple medium or a concept of painting, but a cultural symbol representing Chinese cultural identity and resources. At the same time, while the explorations of the ontological language is taking place, some contemporary artists in the global vision also use it as a kind of resource for contemporary transformation. It can be said that these new explorations are not only a kind of examination or "redefinition" of tradition, but also a kind of excavation and inheritance of tradition. Contemporary artists use "their own" unique language to construct their own cultural subjects, cultural identity and art history.