Pulled The Door - Chinese Contemporary Art And Culture Strategy Possible

Now we live in a material age in which the cultural life is puzzled, people lose their believes and are at a loss. The present Chinese art has a special identity which is to have a dialogue with the luman culture and has a great effect. It puestions the social relity, query the present people, so people pay more attention to it. We face to a problem that how to deal with the development of culture and language with the present cultural logic. To solve the problem, we need to study, resolve and merge the present art, then we can find a right place for ourselves in the times which has vary criterions, complicated information and the broken culture.This paper discusses the present Chinese art's tactics from two facts, the artistic criticism and the culture practice.Part one: It manily discuss how the present criticism keep the tradition and has not shake off the eastern system in the same time. The rigid criticism results in the backwardness of criticism compared with the culture practice. To improve the level of the present criticism, the construction of the present critical system is urgent.I elaborate the thesis from two aspects. The first aspect discusses the importance of the culture criticism to the development of the present Chinese art. First, I point out the fraud of the present criticism, and affirm the advantage of the formal criticism in the 80's and the meaningful crticism in the 90's. Second, I point that we muest establish a suitable critical concept to lead the advancment of the present art.The second aspect discusses that, in china the exhibition ploters can not live without criticism, and they are important to the development of the present Chinese art.Part tow: Discusses the establishment of the identity of the presentChinese art from the artistic practice. This thesis is elaborated from three aspects.The first aspect discusses the development of the Chinese art in these twenty to thirty years. One, I call the art in the cultural revolution and the scar art in a name of "Cultural revolution's reality doctrine", and the transition from the cultural revolution's reality doctrine to the local reality doctrine is called "the gradual change of the united form". Second, "the fational art's movement" in the 80's is a mind liberation of idealism. Although it cannot disolve the reality problems, it makes the Chinese art plural, I call it "the division of the united form".The second aspect discusses the present Chinese artists' poststractural tactics in 90's. To discuss it, I analysice"the newly emerging generation"and "the cynieal pop "etc.The third aspect discusses the establishment of the present Chinese art's identity from internal and external view.