A Discussion On The "85 New Tide Art Movement "

As an important event of Chinese contemporary art,"85 New Tide Art Movement" not only has the meaning of art history,but also the significance of the history of thought.It inherits the spiritual purport of "Scar Art" in the late 1970 s,ends the "red,light,bright" mode of revolutionary realism which under the influence of Soviet Art,arouses the self-introspection of art and promotes the popularization of avant-garde arts such as abstract art and pop art in China."85 New Tide Art Movement" is also the performance of the "cultural fever" of 1980 s in the art field,it carries the transforamtion of the aesthetic culture system in the process of China’s modernization and the contradictions,paradoxes and conflicts in the process of the change of aesthetics ideology.To a certain extent,it can be said that the issues considered,concerned and criticized by the "85 New Tide Art Movement" far exceed the artistic issues,because "New Tide" artists pay no attention to the establishment of artistic style and schools,but to the problems of the whole society."New Tide" artists express their views on the world in highly deformed and exaggerated ways.In order to deny power discourse,they regard "Appreciation of Ugliness" as a means of resistance and strongly rebel against and deviate from the traditional painting language to express one’s feelings and emotions in a entirely new artistic language which enlarge the distance between the artistic language of the "New tide art" and the traditional one,thus realizing the defamiliarization effect of the creative language and subverting the traditional artistic creation norms.In view of the great significance of the "85 New Tide Art Movement" in the history of contemporary Chinese thought,culture and art,etc,this article attempts to explain the connotation and extension of this artistic movement with the process of Chinese modernity and aesthetic modernity as the leading clue and aesthetic revolution,narrative revolution and visual revolution as the main standpoint.Taking specific works as an example,this paper deeply analyses the creative purpose,modeling language,form composition and color rule of "85 New Tide Art Movement",and studies the representation,generating mechanism,activity characteristics and subsequent fate of "85 New Tide".Specifically,it is mainly divided into five chapters:The first chapter mainly analyses the ecological environment and the mechanismof the "85 New Tide Art Movement".In our view,the "nation-state" form of "China" itself began to "reform" and "open up" under the impact and pressure of global capitalism,transforming from a single planned economy system to a market economy system.The changes in political and economic fields and the upsurge of translation and publishing in cultural fields are interesting.All these together constitute the ecological environment of the "85 New Tide Art Movement".In a broader sense,"85Art New Tide" is not an isolated phenomenon either.It not only has its own logic of development,but also coincides with the whole era’s psychology of seeking novelty and change.As a part of the "ideological emancipation movement",it explores the spirit of the times together with other literary and artistic categories,such as literature,film,music and dance in the same period,and constantly raises questions,triggers discussions and forms a joint force of thought in the new era.With the support of an enlightened policy system,this ideological force moved up and down and joined hands with the opposition,and eventually triggered a revolutionary art movement.Since the "85 New Tide Art Movement" is the result of a joint efforts,it is necessary to reflect on these joint efforts more than 30 years later.Therefore,the second chapter reflects on the aesthetics,art and the "85 New Tide Art Movement" itself in the 1980 s.Through theoretical reflection,we find that: first of all,this art movement is in the form of "movement",which is really helpless.They formed groups,made declarations,marched and demonstrated in a very similar way to the political movements of the past.The specific practices in this movement,such as self-esteem,exclusion of dissidents,and the use of Dazibao to oppose the views of different opinions,show that although artists wish to criticize the autocratic tradition of the Cultural Revolution,but in fact,new autocratic discourse has been formed.Secondly,consistent with the establishment of groups,they express their common artistic views in the form of declarations.However,these declarations are only temporary,partial and conditional,although some temporary declarations of "essence" and "universality" are agreed upon when needed,so as to facilitate the convenient use of them in the confrontation with tradition.But in the real process of operation,there is obviously a lack of the most important public value scale.Thirdly,the works of Kant,Nietzsche,Sartre,Freud and other philosophers provide ideological resources for young artists,while the western modernist schools such as Impressionism,Dada and surrealism provide technical support.However,due to the limitation of knowledge level,many artists only devour philosophers’ viewpoints and try to uselimited artistic images to carry grand narratives such as the origin of life and nation-state.As a result,the works are obscure and difficult to understand,and are eventually abandoned by the public.We have found many problems from the reflection,but nevertheless,"85 New Tide Art Movement" is still the most powerful event in the development of contemporary Chinese art,which has brought revolutionary influence.The third,fourth and fifth chapters focus on the revolutionary significance of aesthetic revolution,narrative revolution and formal revolution.The basic characteristics of the aesthetic revolution lies in: firstly,it is the continuation of the Chinese modern cultural enlightenment movement,such as the "Eastward Spread of Western Culture" in the 19 th century and the "May 4th New Culture Movement" in the early 20 th century.Secondly,it is an ideological revolution of instrumentalism creation mode in the field of art for a long time.Finally,it is also a westernized visual social practice aiming at "modernization".The "85 New Trend Art Movement" originated and developed in the context of modernity,which is the dualistic opposition between China and the West,tradition and modernity.Its modernity discourse has also constructed a complete set of systems containing images,myths,concepts and concepts.Despite the use of a considerable number of western modernist artistic languages,the richness of creative forms and the activity of theoretical discussions have overturned the previous monistic artistic creation norms and theoretical interpretation patterns and started to construct an artistic practice framework oriented to modern creation and theory.The reason why the aesthetic revolution can become a reality lies in that it begins with the revolution of narrative language,based on the rebellion against the creative stereotype of "Cultural Revolution Art".After the baptism of "Scar Art","Local Art","Star Art Exhibition" and "85 New Tide Art Movement",the "God" in the Cultural Revolution has finally been transformed into a person of a society.As well as,the aesthetic experience of individual artists began to step onto the historical stage,and the subjectivity of human beings was affirmed.The independence of color and shape was gradually realized in the narrative language that publicized subjectivity.At the same time,this narrative mode also changed from plain and straightforward narration to free metaphor of human beings.The revolution of narrative language relies on the imitation of Western modernist art forms by "New Tide" artists,which reveals themselves through the formalrevolution.It is this avant-garde pursuit of formal change and technological innovation that has created a "New Tide" different from the traditional one.That is to say,in the opposition to traditional art,based on the entirely-new visual language and self-conscious innovation consciousness,the "New Tide Art" launched the transplantation and imitation of Western modernist art,and abstractly dealt with the transformation of objects and images,thus completing the game of form.Of course,the formal revolution upholds the denial and rebellion of traditional art based on the concept of "artistic autonomy",which is a practice of double freedom of transcendental perception and individual practice of humanism.Through the interpretation of aesthetic revolution,narrative revolution and formal revolution,we present the Aesthetic Modernity Significance of "85 New Tide Art Movement".Our core point of view is: although there are various problems in the "85trendy art movement",there is no doubt that it is an integral part of ideological emancipation and artistic concept renewal in the historical context of the 1980 s.It has brought impact to Chinese society,brought changes to art,and changed the overall artistic ecology of China;moreover,this change is revolutionary and milestone.From this change,it opens up various possibilities of Chinese art in the future.