(Introduction: The academy system of fine arts, the tradition is not well taught; The West did not learn well; Theory is not a systematic course; Calligraphy and ink painting are not at the level of the Republic of China; Oil painting and sculpture are less than the level of France for more than 100 years, and contemporary is still at the level of Western knowledge decades ago; Generations circulate within a four-in-the-other system. ）
The teaching system of major art academies in China is still in the stage from Courbet, Manet to Bauhaus, that is, from realism to abstract composition.
These two stages mainly emphasize the modeling of images, but contemporary art is no longer a problem of image processing, but a problem of spiritual content, and this kind of issue is treated as a linguistic and semiotic text.
The concept of contemporary art focuses on linguistic texts related to spiritual issues, that is, its linguistic training involves linguistics (e.g., signifier, signified), textual (e.g., hypertext, multitextual), psychoanalytic (subconscious, conscious syndrome) and semiotics (e.g., coding, metalanguage, etc.), and contemporary art is to train these courses, rather than figuratively dealing with technical problems.
The so-called image treatment refers to the realism of modeling, the treatment of tones, the expressionism of realistic deformation, the surrealism of realistic image reorganization, the abstract structure, and the reorganization of points, lines and surfaces.
From the Renaissance to Abstract Expressionism and Minimalism in the 1950s, the mainstream of art in the West is from realism to formalism, and the focus of language practice in this process is figurative processing.
However, in contemporary art by the 1970s, figurative treatment was no longer the focus.
What matters in contemporary art is the textual structure of the content.
Like Greenaway's film "Tutsi · Lupi's Suitcase", it is a semiotic work.
From the abstract art of formalism to the conceptual art of fluxus, the exploration of image processing came to an end.
Guy · Debord in the 1970s was a new beginning, and he began to look at art with a structuralist idea of text, especially his theory and his film The Society of Spectacles.
As a thinker and artist, Debord's Spectacle Society begins a new methodology in which all landscapes, images, and rituals are seen as texts of the consumer society.
The domestic art academies have also been changing in the past decade, but this change is still in the transition from the realism training of the European art academies in the mid-19th century to the Bauhaus design school in Germany in the 1920s, that is, from realism to expressionism, abstract art and composition design.
In the West, if a European art academy teacher claims to be a conservative academic, he is actually talking about abstract art.
But a Chinese art academy teacher claims to be an academic, but in fact he is saying that he is engaged in realism.
Of course, some art academies now also offer so-called experimental art courses.
However, whether it is the transformation of the traditional art academy system into the Bauhaus system, or the transformation to the "total art" of Fluxus art in the 1970s (that is, painting, sculpture, photography, performance, video, etc. can be used in the same work), the overall problem is still stuck in the pictorial image processing.
Even if it is the so-called experimental art, many students create in the form of installations, but in fact they still treat the installation as painting, that is, three-dimensional painting, and the so-called multimedia installation engaged in by the experimental art department of the domestic Academy of Fine Arts is not experimental art in the real sense, but surrealist installation design, which still belongs to the category of image processing.
The experimental art department of the Academy of Fine Arts in China and some installation art exhibitions such as the 798 Art District are nothing more than surrealist Bauhaus designs in the name of conceptual art.
Installation art was a short period in the West, and now it is also a popular form, and all the linguistic practices at the level of image processing are before the 1970s, that is to say, the formalism and media characteristics of language are the concepts of modernism, and modernism to fluxus is over.
In fact, the art education of China's art academies and the contemporary art of the younger generation are still in the stage of the 1970s in the West, that is, the transition from modernism to contemporary art, and only the "total art" has been completed in the medium of language, but the internal structure of art has not yet turned to linguistic or semiotic texts.
The transformation of domestic art academies to linguistic texts of works of art is currently in an intellectual bottleneck that cannot be turned over.
Because most teachers themselves do not have training in linguistics, textuals and semiotics, they are still stuck in the technical training of manual creation and image processing, and it is difficult for this knowledge structure to move towards a higher level of semiotics and linguistics.
Therefore, the "Bauhaus transformation" of the domestic art academy has actually transformed the art academy into an art and design school, and a large number of graduates' works have become more and more designed, and the works of art have no spiritual content, only modernist and fashionable design language.
The training of art academies in China focuses on the technical or technical training of image processing, but there is no training in literature, history, philosophy and linguistics.
As a result, generations of art academies have mainly relied on mental instinct and image processing skills, the latter is no longer the focus of artistic language, and the former is difficult to "generalize" on spiritual issues.
Contemporary art can no longer rely on instinctive feelings as the spiritual issue of art, and all our feelings today are produced under the control of a totalist system of politics and capital, and almost no feeling is a purely personal feeling.
Therefore, the artist's feelings must be viewed through the structural vision, and the formation of this structural vision and the reading of various cultural theories are a basis for the training of the vision of spiritual understanding.
Contemporary cultural theories actually explain the totality of various individual feelings in the era of globalization very clearly, such as consumerism, spectacle society, psychoanalysis, neo-Marxism, feminism, and there are almost no spiritual issues that have not been discussed in contemporary cultural theories.
If the artist did not have the theoretical vision of this structural analysis of the spirit, art would have stayed in the expressionist stage of the 1920s.
At present, the education of domestic art academies is relatively weak in the ideological training of human nature and the understanding of spiritual subjects.
As a result, generations of people in the Academy of Fine Arts have little understanding of subjectivity and the theoretical context of psychoanalysis, and many people are almost in a state of ignorance.
Like the tragedy of ancient Greece, the tragedy of Shakespeare, the sublime aesthetics of Germany, Kierkegaard, Nietzsche, Sartre, Dostoevsky, Freud, Jung, Lacan, absurdist theater, etc.
Few teachers and students of the Academy of Fine Arts have read these literary and philosophical theories, and this instinctive state of understanding human nature has reduced their art to only formal design.
"Painters don't need to read", this is a surprising buzzword in the domestic academy of fine arts.
Generations of erroneous prejudices have made the Academy of Fine Arts system more and more simplistic about the richness and understanding of human nature itself.
Books such as literature or art history, and the history of painting itself, still need to be read, and the former is a training of spiritual vision and penetration, such as realist painting.
If a painter doesn't read novels, how can he grasp the humanity and national nature of the characters, and how can he express the profound personality of the characters?
If it is an expressionist painting, it is hard to imagine that without reading the books of Nietzsche, Kierkegaard, Sartre and other masters, how can a painter's expressive painting have spiritual power?
If it is an abstract painting, it is difficult to imagine that an abstract painting will have poetry and concepts without reading some poetry and conceptual art theory.
If there is no literature and philosophy, then the artist can only engage in design and decoration.
I once spoke at a forum in Songzhuang:
After the "Cultural Revolution", the Chinese tradition was not taught well, and the essence of the West was not well learned;
There is no systematic curriculum in art theory;
Technically, calligraphy and ink painting did not reach the level of the Republic of China;
Oil painting and sculpture did not reach the level of the France Academy of Fine Arts at the end of the 19th century, and contemporary art remained at the level of understanding in the West in the 1970s;
Generations have basically graduated from this four-in-the-dark system, and then they have to preach the theory that reading is useless, and now it has become a business school of fine arts.
Most teachers and students are busy exploring the market and exaggerating to package themselves, which has reached the point where it is difficult to change their habits.
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