China's avant-garde art is an artistic phenomenon influenced by western modern and contemporary artistic thoughts after the reform and opening up. From the perspective of pioneer as an innovation, the so-called pioneer is only within the scope of China and cannot be compared with the French word avant-garde. Since1960s, especially after1980s, avant-garde art has become the mainstream art in the west, and the development of new media art has made people commonplace. Even today, no matter what tricks you are playing, it is hard to be called a pioneer or avant-garde. Therefore, the word avant-garde is meaningful only in China, because in the past long century, China has not experienced any artistic movements and major changes similar to those in the West. Today, from the perspective of innovation, not being understood is a pioneer or avant-garde. If people understand or get used to it, it is definitely not avant-garde or avant-garde. So in my opinion, both "pioneer" and "avant-garde" are just a strong concept of timeliness. Avant-garde art appears in western modernism, which is a concept put forward by western modernism. When we look at the history of modern art, including what they did later, it is an original artistic style that has never been seen before. Therefore, originality is a basic criterion of western avant-garde art-that is, a new language model. 1after the 1960s, the west has done everything and tried everything in art experiments, so it is also faced with the confusion of language originality. China's avant-garde art began at the end of1970s. In fact, after the reform and opening up, we saw the western mainstream art, and after accepting the impact of the western mainstream art, we started our own avant-garde art. In fact, from the perspective of art history, when we started our own avant-garde art, the western avant-garde art had reached the most confused time. It is rare to see original works again. So, what is the originality of China avant-garde art on this basis? ! The problem is that we can't demand and treat China's avant-garde art with the principle that the West is constantly looking for new language styles. This has become a problem, and I have been thinking about it for many years.
First of all, we can't judge China's avant-garde art by western standards. If China's avant-garde art is judged by western standards, none of the avant-garde art that has happened in China so far is avant-garde, avant-garde and meaningless. We must redefine the rules of avant-garde art in China and look for the standards of avant-garde art in China. Make it have value and significance in the special social environment of China. During the nearly 30 years' development of China's avant-garde art, we find that the criteria for judging China's avant-garde art are fundamentally inseparable from the dual tasks of social, cultural and linguistic criticism. However, this key function only makes sense in the context of China.
The value and standard of avant-garde art in China should have different cultural truth and social views in each different period, that is, what questions artists put forward for human survival in the real social situation. In this sense, I emphasize that China's avant-garde art should constantly change its cultural pertinence and constantly raise new questions. Only in this way can China's avant-garde art keep advancing.