Genealogical Perspective: A Study Of Chongqing’s Abstract Paintings In The1980s And 1990s

In the 1980 s and 1990 s,China experienced the influence of Western modern art and entered a new period of transformation.During this period,in Western modernist art,abstract art was regarded as an important artistic style and expression form.After its theory was accepted by the Chinese art world,a large number of artists also began to enter the abstract art to try and create.The attempts at abstract art have been influenced by traditional Chinese painting and post-foundation realism painting.The artist ’ s practice is always accompanied by this local experience and social needs.Gradually,the development of Chinese abstract art has an obvious "Chinese way".Formed a tendency to combine localized language with Western abstract painting forms.Chongqing is an important city for the development of Chinese contemporary art.In the 1980 s,it was the main front for scar art and local art.Against the background of the development of mainstream art that complies with the creation methods of realist art and the needs of social expression,the attempts to abstract art have become even more valuable.The Southwest Art Group,dominated by the Sichuan Academy of Fine Arts,is an important group that accepts Western modern art trends.It is precisely when such a stable art situation is facing the trend of Western contemporary art,Chongqing artists who seek innovation and change have preserved their sensitivity to art changes.A Chongqing-style daring and aggressive attitude has become Chongqing.The geographical conditions for the development of abstract art.Chongqing artists accepted the practice of modernist painting,and also challenged the abstract art language,and developed their own abstract art language.Based on this background,this article uses the evolution and development of Chongqing’s local abstract art in the 1980 s and 1990 s as a starting point to re-examine the entire state of abstract art development in China.Focusing on the background of the development of contemporary art in Chongqing,it traces the potential factors ofChongqing’s abstract art and the internal demands of the local artists under the influence of communication,teacher biography,region,and social relations during the exploration of early artists.Through the art events that occurred during this period,the generation mechanism of the artist’s practice,the artist’s abstract art work,and other aspects,it analyzes how the information and theories of Western contemporary art have entered China and has influenced Chongqing’s abstract art to shape the localized art language,as well as How does mainstream native art produce discourse rights relationship.Therefore,this article uses genealogy research methods to cut into the generation mechanism of Chongqing’s abstract art.From the perspective of genealogy,through the decentralized and non-linear decentralized discourse of power,the details of phenomena in the development process affirm the practical spirit of Chongqing’s abstract art.From the perspective of historical traceability,regional culture,discourse genealogy,work schema,social network,etc.,the abstract paintings of Chongqing in the 1980 s and1990s were studied.The Chongqing abstract art phenomenon is regarded as the sum of the wrestling field of multiple power discourses and the occurrence of phenomena.Explain the historical conditions and theoretical roots behind the phenomenon,and question the generative position of the artistic language and aesthetics after the turn.In order to find the generating mechanism behind Chongqing’s abstract art practice.In the research process,the author through the artist Wu Song,Zhu Xiaohe,Shao Changyi,Zhang Qikai,Tang Liangfeng,etc.who tried abstract art in the 1980 s and 1990 s,curator Luo Qunyi,curator of the Chinese Contemporary Art Center,experienced abstraction in the 1980 s and 1990 s Curator Zhang Qi;a large number of interviews with different groups such as Lei Hongzhi,a professor of the Sichuan Academy of Fine Arts,and Li Min,a data administrator of the Sichuan Fine Arts Academy Many first-hand graphics and text materials.The article also focuses on media publications.A large number of publications at the national level consulted the "Art" magazines in the 1980 s and 1990 s,and the "Jiangsu Pictorial" in the 1990 s.Publications such as the "Contemporary Artist" of the Journal of Sichuan Academy of Fine Arts published in the 1980 s and 1990 s,and the school newspaper of the Sichuan Academy of Fine Arts resumed in 1992.These materials constitute a phenomenon in genealogy research,which can reconstruct the face of Chongqing’s abstract art through non-power-centric discourse.At the same time,combined with oral history and investigation and research methods,it does some image analysis on the painting results derived from the phenomenon of abstract art generation.Finally,the author believes that in the abstract art of the 1980 s and 1990 s,artists inChongqing are more inclined to personalized creative practice,and Chongqing ’ s abstract art community has not been formed,and the theoretical process of regional abstraction is impossible to talk about.Without the support of a systematic theoretical discourse,Chongqing’s abstract art eventually moved towards the artistic path of personal experience.To this day,Chongqing’s abstract art is no longer the exploration of the previous schema experience,but more is the embodiment of the free spirit of artistic creation.Therefore,to retrospect Chongqing’s abstract art,not only can we understand and explore the artist community and generation mechanism of Chongqing’s abstract art,it can better restore the diversified manifestation of artist identity self-discipline and language exploration in the development process of Chongqing’s contemporary art,and also record The following is the cultural meaning and cultural value left for the city.