1980년대 중국 아방가르드 미술에서 문자미술의 전개와 특징

Abstract

This study focuses on word and image in Chinese avant-garde art in the 1980s. It focuses on the works of Gu Wenda, Wu Shanzhuan, and Xu Bing. It investigates the significance of their anti-art practice activities in China's political, social, and cultural background in the 1980s. It examines what their activities mean in the history of modern Chinese art. After the end of the Cultural Revolution, a large number of Western ideas flocked to China in the 1980s with reform and opening, and discussions on humanities were held with unprecedented personnel. After the end of the Cultural Revolution, modern artists in China began to accept modern and contemporary Western art from the post-revolution period, and the 85 New Art Movement took place in the mid-1980s, led by young young artists. Artists who participated in the 85 New Wave, China's first modern art movement, organized and worked as an organization and indirectly encountered Western contemporary art and philosophy through books. Their activities contributed to the expansion of Chinese avant-garde art into the nationwide avant-garde movement. The movement contributed to hosting the Chinese Contemporary Art Exhibition in February 1989. Although the exhibition ended ostensibly in failure, the artists who participated in the planning and exhibition later went abroad to study or defect to promote China's visual culture and modern art. In particular, Gu Wenda, Wu Shanzhuan, and Xu Bing. who participated in the 85 new wave, earlier modified, reconstructed, and studied Chinese characters and calligraphy to build their own art world. The purpose of this study is not to honor or criticize the achievements of the three artists' current progressive works. Instead, by looking at examples of works at the beginning of Chinese avant-garde art in the 1980s, we have the opportunity to think about China's historical background and the role of writing art in China's reality in the 1980s.