我们不可否认,当下“全球状况的国际文化”意识以自身强悍的占据性和着实的信赖性,去解构着“观念后”的现代经验主义及所曾发生的“经典图式”,这个进程让“后发生”的阐释具有它的存在和可能性。反观之来质疑我们的文化和社会的根本价值,显然这种回应超出了艺术本身,而变质成一种更宽泛的文化概念。不管它的发生和发展趋势如何,而同处于现代文化中的当代中国实验陶艺与其他当代艺术一样,终究处在被“选择”的状态中,这是避免不了的必然。而面临的作用不管是心态的还是行动的,都将会证实这一文化权力话语的现实性。 We can not deny that at present the “global culture of international status” consciousness deconstructs the “modern post-concept” modern empiricism and the “classic schema” that has taken its place with its own powerful occupancy and solid trustworthiness The “post-emergence” interpretation has its existence and possibility. In contrast, to question the fundamental values ​​of our culture and society, it is clear that this response goes beyond art itself and degenerates into a broader cultural concept. Regardless of its occurrence and development trend, contemporary China’s experimental pottery, which is in the modern culture, is always in the state of being “selected” like other contemporary art. This is an inevitable result. The role to be faced, whether mentally or otherwise, will confirm the reality of this discourse of cultural rights.