The frost is cold in the

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However, we welcome Mi Zhi, and the significance is more than that.

However, we welcome Mi Zhi, and the significance is more than that. Michu brought not only modern art, but also a cultural attitude, which has a wide range of enlightenment for people outside the field of modern art. In my opinion, Mi Zhi's cultural attitude can be summed up in one sentence: from confrontation to dialogue. All vicious confrontations do not come from the aggressive nature of some people, but from the self-stickiness, self-limitation and self-adherence of some people. In the past, many commentators always emphasized the rebelliousness and antagonism of modern art, and regarded all modern artists as crazy rebels like King Kong's angry eyes, which is really a misunderstanding. In fact, it is those extremely conservative and seemingly gentle circles that are too sticky and eventually become the source of vicious confrontation. This has been proved by the facts over the years. Young modern artists, though disheveled and with strange hairstyles, are mostly working peacefully, and most of the harsh quarrels come from an old community that likes to command others with its own norms. From stickiness to extreme and from extreme to stickiness are the characteristics of this community's thinking and behavior, which seem to be very contradictory, but in fact they are mutually exterior and interior. Because of stickiness, all professional division of labor and genre positioning become insurmountable positions. People live sensitively for all kinds of boundaries. They are not only alert to people crossing the boundary, but also alert to people crossing the boundary. Even within the boundary, there is no moment of peace of mind. As a result, they inevitably regard their peers as hidden or obvious enemies one by one; Because they are sticky, they are also hostile to different audiences. Pretending to be engaged in modern art, they have an iron face,grey marble slab, despise the public and reject society, while pretending to be engaged in popular art, they ignore tradition and laugh at classics. This hedgehog-like attitude is manifested in artistic collisions everywhere, the pursuit of profundity will tear the appearance, the pursuit of form will exclude meaning, in short, over and over again can not be separated from confrontation; Because of stickiness, the choice of Eastern and Western cultural spirit is even more paranoid,Stone Honeycomb Panel, not deep in any aspect, but can be extremely good or bad, deliberately praise or criticize, which not only exaggerates the global civilization confrontation, but also exaggerates the inner confrontation of a modern man with history. Mr Michu denies all of this. He did not accept all the sticky attribution, and opened up a wide range of activities, including modern oil painting, abstract ink painting, performing art, behavioral art, cultural planning and art management. He softened and even abolished the boundaries between them, and therefore softened and even abolished the confrontation. Nor does he think that the thinking and popularity of art are incompatible, on the contrary, from his works, we can see that he tries to find a space for dialogue with the broad audience between the two ends. His works are not popular, often eliminating easy-to-read symbols to reach the original complex and the overall mood, Slate Wall Panel ,Pietra Gray Marble, but because of this, he provides the audience with the possibility of participation with a sincere blank. With his extensive participation in society, he exchanged the audience's extensive participation in art, and all participation is a profound dialogue. If this dialogue is expanded, it will become a dialogue between the Eastern and Western cultural spirits. The charm of the East and the techniques of the West have made his works famous in Europe. Taking a step forward, he handed over the responsibility of intermediary from works to the whole life, fully westernized and sinicized himself, and let his flesh and blood shoulder the responsibility of the cultural envoy of the East and the West. It is this point that makes Michu leap from a free and lively artistic wise man to a magnificent cultural phenomenon. In short, with a tolerant and broad mind, all confrontations are resolved into dialogues, and the scene of resolution is at the end of one's own pen, in one's own heart, and at one's own feet. The motive force of resolution is that he has witnessed the invisible battlefield of vicious confrontation, and he knows that such a battlefield is hurting the creativity of culture and the nobility and dignity of human beings every day. So he left home, tasted loneliness, thought hard in the mountains on the other side of the world, and asked questions frequently in the distant streets. He soon realized that the nobility and dignity of human beings is a more and more serious issue for modern people, for which dialogue should be made more efforts. Culture and art make dialogue warm, and the turn of the century makes dialogue equal. For many years, I finally waited for a moment when I could have an equal dialogue with the world. Therefore, in Michu's rush, the dignity of the nation and the dignity of human beings come together, and both of them turn into a knowing smile, so relaxed and healthy, so formal. In my opinion, the liberating significance of modern art lies in this healthy cultural attitude. Reading Michu's Works An unattached person Ordinarily, it is quite rare to be good at both oil painting and ink painting in the field of painting, but I clearly saw his glue color, paper carving, printmaking, sculpture, calligraphy and seal carving, each of which has outstanding achievements. Before I had time to cheer, a thick collection of his works appeared on my desk again. The anthology is devoted to criticism, covering a wide range of subjects, including painting art, religion and aesthetics of the East and the West. Gardens, language and food are also talked about by him one by one. Later, he gradually learned that he had also been involved in poetry, fiction, script, prose, translation, and some of them had a great position in the history of Southeast Asian literature. By its very nature, art should not be dismembered into a strictly technical profession. Art is the dream that human beings earnestly hope to be sound, and it takes the constant victory over parochialism as the basis of its existence. The soul of art, first of all, embodies a kind of personality quality of full release, free creation and positive endowment. This quality is more or less hidden in everyone's heart, so every normal person has the opportunity to become a recipient and resonator of different artistic depths; It is reasonable for everyone to become a creator with a wide range of interests, but eventually they encounter constraints and divisions,Grey Marble Slab, and the function of artistic creation is only concentrated on a group of special people called artists, and they are also required to think about a profession with lifelong single-mindedness. For this reason, there have always been some masters of art who are deeply distressed by the limitations of their own categories.

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