文化，是人类基于生存、进化而形成于不同历史社会发展阶段中的、人类行为方式的集中体现。今天，这种基于文化而展开的文化消费现象，不仅使经济发展的支撑方式，全面而直接地影响着人类文明的发展进程，同时，也对当下的艺术观念及艺术生产的方式，产生着积极的引导作用。艺术，是一种文化态度。是艺术家通过艺术形式完成视听与动作表达而显现出的所谓“审美或反审美“思考的艺术选择。在不同的历史发展阶段，这种经由艺术家个人选择和自由铺述的、定格于某种文化观念与技能条件下的文化反思，使艺术从古自今不间断地延伸着人类文明的印迹。

　　从对生命本体的追问，到个体意识的宣泄;从尊重个体经验出发，渐行渐隐地走向链接社会与大众的公共关系。在这里，艺术通过语言形态的嫁接与借喻，平缓地铺述出艺术家的观念视野。同时，也通过艺术家个人的经验管窥，折射出与当代文化密切关联的文化态度。

　　85-86时期，作品《没有门的房间》等，在抛弃主流语言形态的前提下，强调视觉观念的反叛，反对艺术形式与技能教条的框限，创造出“一种具有哲学意味的视觉结构”①，将艺术形式纳入哲学思考的范畴并进行有效的视觉表现。

　　88-89时期，通过《病情》、《病群》以及《病危》等系列作品，展现生命中的个体意识，画面以痉挛性的表现性笔触，直接宣泄着个体生命的病态与情绪。

　　90-92时期，作品冠以《世纪末的对话》、《新未来宣言》以及《红色》系列等主题，直接呈现惊恐、焦躁的社会化图式，并将未来可能发生的、期许于社会意识形态的文化转变，作为一种观念折射与隐喻。

　　93-96时期，通过《戏子图谱》、《视线扫描》以及《新偶像》等系列作品，完成由哲思表述、个体生命意识宣泄以及透过惊恐、焦躁的社会化图式来表现社会性主题的图式风格置换，并形成了以大众形象为主导的、图象化表述的波普语境。这一时期的作品“试图以调侃的姿态消解以往某种严肃、沉重的东西”②。

　　06-07期间，新作《蝴蝶•中国档案》系列，是通过网络图象的碎片剪辑与嫁接，直接或间接地呈现当代网络记忆与交互的社会图景。并以此显示中国消费时代的来临及全球经济一体化的泛“蝴蝶”效应。

　　与其它艺术家的经历不同——我经历了1996-2006这一长达十年的艺术反思。相同的是，我和其它艺术家一样——仍然坚守着艺术的图象方式，并通过艺术的承载，来体现艺术家个体针对文化现象的一种态度。

　　注释：

　　①摘自郎绍君《论中国现代艺术》 P332 江苏美术出版社 1988年8月第一版

　　②见廖雯编著的《中国大陆中青代美术家百人传》油画篇•现代艺术篇-上册 P136 台湾随缘艺术基金会、艺术潮流(香港)出版社

Art is an Attitude towards Cultural Phenomena by the Artist

—— the context transition and reflection from New Wave to the consumption age

Cao Dan

　　Culture is the concentrated expression of human behaviors which are based on their existence and evolution, it is grown in different periods during the development of society and history. Today, this phenomenon of cultural consumption which is based on culture, not only makes the support of economic development influence the process of human civilization comprehensively and directly, but also plays an active role in the guide of art concepts and production in present. Art is an attitude of culture. It’s a choice between the so called reflections of “aesthetic or anti-aesthetic” which is realized by the audio-visual expression and action shows from artists’ works. During different development periods of the history, this cultural reflection which is chosen by the artist himself make art extend the mark of human civilization throughout history, without break.

　　From the questioning about life to the venting of individual consciousness; start from respecting individual experience, gradually enter into the public relations which link the society and community. Through the skills of language forms, art expresses the artists’ view of concepts. Moreover, with the artists’ personal experience, it reflects a cultural attitude which is closely related to contemporary culture.

　　Period 1985-1986, works such as Room without door, emphasize a rebellion against visual concept and the restrictions of art forms and skill rules in basis of abandoning the shape of language in mainstream, they creat a “visual structure in view of philosophy” ①, and bring art into the category of philoshophical reflection and carry out the effective visual expression.

　　Period 1988-1989, I tried to present the individual consciousness of life through the series of works Illness,Patient group and Critically ill, by using expressional strokes which are convulsive looking, the paintings give vent directly to the individual sick and emotions.

　　Period 1990-1992, works such as Dialogue at end of the century, New declaration of future and The red series present directly the horror-struck, fretful social figure, and treat the culture transition which could happen in future or demanded by the social ideology as a concept to show out in the way of refraction and metaphor.

　　Period 1993-1996, the creation of The actors, Scan of view, and New idol completed the transition of figure style from philoshophical expression to the vent of individual consciousness and then to the society subject under the horror-struck, fretful social figure, moreover, they create a Pop context which is guided by popular figure and expressed by the images. The works during this period “try to counteract something serious and heavy in the past in a teasing way”②.

　　Period 2006-2007, my new series of work Butterfly•Chinese file intend to present directly or indirectly the contemporary internet memory and interactive social image by editing and composing the internet image fragments, as well demonstrate the arriving of consumption age of China and the “Pan-Butterfly Effect” of Global Economic Integration.

　　Unlike some other artists——I have experienced ten years’ art reflection from 1996 to 2006. However, there are as well the similarities between us ——we persist in the way of artistic image, and express our individual attitude towards the culture Phenomena in the area of art.

　　Annotation:

　　①Excerpted from Discussion on Modern Chinese Art written by Lang Shaojun P332 Jiangsu Fine Arts Publishing House 1988.8 1st edition

　　②Excerpted from the part of Modern Art in Biographies of Hundreds of Young and Middle-aged artists in Mainland of China • Oil Painting (VolumeⅠ) edited by Liao Wen P136 Taiwan Suiyuan Art Foundation, Art Wave (Hong Kong) Publishing House

作者：曹丹