CONTEMPORANEA arti e Culture

　　展览计划在2000年的当代艺术与文化与第二次展览中，代表中国的画家，杨少斌，曾浩，和海报艺术家赵半狄。在西方人们谈论关于艺术的死亡，绘画和摄影的危机，在广告，新闻，这些时尚的领域里都被言过其实的夸大了。另一方面，越来越多的摄影师，潮流设计者，导演，那些自称有艺术法规为了他们的作品，达成包括他们自己的批评圈，画廊，收藏家和博物馆，一群固定的追随者，在西方艺术市场也包括中国，由于新近产生的财富，繁荣的市场特征已经存在了。假设摄影，这个仅仅产生了一百五十年的历史艺术形式，在谈到绘画时，摄影有更多的可能性。可是我也相信后者在很长时间里被欣赏，因为人们已经厌倦了那些精神上的手工的成分，唯一有能力伴随人类的始终。

　　在杨少斌的画布上，麻醉的肉体和简洁的轮廓，红色的血液，像是渴望能够从被压抑的自由的思想中释放出灵魂。愤怒的爆发，精神的自由，可以从愤怒爆发的破口中释放。

　　CONTEMPORANEA arti e Culture

　　The exhibition program for the year 2000 of Contemporary Arti e Culture continues with this second exhibition which presents the Chinese painters, Yang Shaobin and Zeng Hao ,and the author of posters Zhao Bandi. In the west one has at length talked about the death of art, the crisis of painting and photography, both ‘inflated’ by an indiscriminate use within the sectors of fashion, advertising and journalism. On the other hand, an increasingly greater number of photographers, stylists and directors lay claim to an artistic statute for their work, managing to include themselves in the “circuit” of criticism, galleries, collectors and museums, following a by now consolidated procedure in the market of western art. Also in China, thanks to the nouveaux riches, a florid market with analogous characteristics is being established. One can suppose that photography, with its mere century and a half of history, has more possibilities of development with respect to painting. And yet I also think that the latter will still enjoy a long life because it is tied to manual work which is an essential component of spiritual growth, only capable of coming to an end with the extinction of the human race.

　　In the canvases by Yang Shaobin the flesh-ripped and terse figure, red with blood, seems to wish to let out a soul at length repressed in the lack of freedom of thought. Anger explodes, it frees the spirit although it leaves the sign of the lacerations provoked by the explosion.

作者：Sergio,poggianella