李广明“水墨主义”的现实意义.docVIP

“水墨主义”的现实意义——李广明 The Realistic Meaning of Inkism——Guangming Li （翻译稿未完成） 好的环境很重要，这是我们努力的方向。前期我们提倡“尊重传统，尊重当代”，是对当下艺术现状的一种全新认识，反馈的意见是普遍的认可。这为我们接下来做的“中国?宋庄上上国际艺术年展”做了很好的铺垫。A good environment which is our direction is very important. “Respect for tradition,and respect for contemporary”we acdovated in the firsr period was a whole new understanding to the artistic condition at present,and the opinion which we feedbacked was generally recgonized.Which was a good bedding for the next “China稴ongzhuang Sunshine International Art Annual Exhibitionn”we will organize. 作为一个展览，多少要带有学术价值和学术性，于是就有了“水墨主义”这一提法。其实“主义”这个词是不能随便叫的，因为用得太泛滥了。但为何今天我们还是坚持要提出来，确切的说是为了对中国当代艺术发展至今种种现象的一种再认识。As an exhibition,more or less it will compose of some academical value and technicality,then the term of “Inkism” comes out.In fact,you’re not at liberty to say it because one is using too vast.But why I insist on referring ,exactly to say ,is a re-recognition of all these phenomena to the development of Chinese contemporary art.中国的当代艺术发展已有三十年了，当代与传统一直相互排斥，互不认同。当然在前期有这必要，传统它必须经历否定这么一个过程。但从当今的角度来说，再相互争斗已经没有意义了。The Chinese contemporary art had developed for three decades,but contemporary and traditional have been mutually exclusive and disagree.Of course,there’s the necessary for they must go through such a progress of negation.However,There’s no any meaning for fighting with each other any more from today’s point of view.如李小山提出的“穷途末路”，吴冠中提出的“水墨等于零”，包括栗宪庭、高名潞等等提出的对过去传统否定的主张，都是一种声音，一种说法，都是为了在这个相互排斥的当下，如何去重新认识传统和当代，找到一个我们自己的态度。For Li Xiaoshan’s “dead end”,Wu Guanzhong’s “zero ink” and including Li Xianting and Gao Minglu’s idea of negating the past tradition,all of which are a voice,a say,and in order to how to re-understand tradition and contemporary and find one attitude of ourselves in such mutually exclusive society.作为一个中国艺术家的立场，怎么重新去认识这个当下，是我们做这个年展的目的。As a Chinese artist’s position,how to re-get to know this present is the goal what we organize the annual exhibition. “中国画”不能代表主张，简单地用“中国画”这个词去定义中国传统绘