“介入性藝術(shù)”的審美意義生成機(jī)制研究
發(fā)布時(shí)間：2018-07-20 12:43
【摘要】：介入性藝術(shù)(engaged art)是二十世紀(jì)九十年代藝術(shù)的新樣態(tài)。它屬于公共藝術(shù)的一種。在形式上,介入性藝術(shù)呈現(xiàn)為在特定現(xiàn)場(chǎng)開展的,藝術(shù)家與參與者共同完成的,混合媒介的,事件性藝術(shù)。這種基于特定現(xiàn)場(chǎng)發(fā)生的在地藝術(shù)實(shí)踐揭示了藝術(shù)創(chuàng)作四要素,即現(xiàn)場(chǎng)、藝術(shù)家、觀眾、作品,之間的主體間性的對(duì)話關(guān)系,意味著介入性藝術(shù)的意義生成是在“劇場(chǎng)性”審美意義生成機(jī)制中產(chǎn)生的。在內(nèi)容上,介入性藝術(shù)是指藝術(shù)家介入到特定的社會(huì)現(xiàn)場(chǎng),與現(xiàn)場(chǎng)展開批判性對(duì)話的藝術(shù),它將藝術(shù)的觸角深入到社會(huì)領(lǐng)域,取代抗議、游行等激進(jìn)的政治運(yùn)動(dòng),成為鏈接人際交往,修復(fù)斷裂的社會(huì)紐帶、激發(fā)對(duì)話、增進(jìn)認(rèn)同的社會(huì)與藝術(shù)綜合體,是對(duì)現(xiàn)代主義審美自律性的否定,同時(shí)也預(yù)示了當(dāng)代藝術(shù)的倫理轉(zhuǎn)向。目前有關(guān)介入性藝術(shù)的批評(píng)話語多半從社會(huì)文化語境的外部層面,對(duì)這一藝術(shù)現(xiàn)象進(jìn)行觀照,尚欠一種從藝術(shù)語義范式分析藝術(shù)意義生成方式的內(nèi)部觀察視野。本文對(duì)介入性藝術(shù)的考察,遵循了第二條路徑,即從藝術(shù)語義范式分析藝術(shù)意義生成方式之路徑,并將這種意義生成方式稱為“審美意義生成機(jī)制”。第一章對(duì)介入性藝術(shù)的實(shí)踐形態(tài)進(jìn)行考察。介入性藝術(shù)的早期實(shí)踐形態(tài)可以追溯自上世紀(jì)初的歷史前衛(wèi)主義,以及60年代的新前衛(wèi)主義藝術(shù)運(yùn)動(dòng)。與早期形態(tài)相比,當(dāng)代介入性藝術(shù)的實(shí)踐形態(tài)呈現(xiàn)兩個(gè)特點(diǎn):首先,它消解藝術(shù)與生活邊界,探索藝術(shù)與社會(huì)的共生關(guān)系,是“藝術(shù)反映現(xiàn)實(shí)生活”這一傳統(tǒng)藝術(shù)—社會(huì)觀的變革。其次,它強(qiáng)調(diào)觀眾參與藝術(shù)作品創(chuàng)作的合作式創(chuàng)作模式,從而改變了藝術(shù)家為創(chuàng)作主體的傳統(tǒng)藝術(shù)創(chuàng)作模式。在考察介入性藝術(shù)批評(píng)話語,即“關(guān)系美學(xué)”和“歧感美學(xué)”的基礎(chǔ)上發(fā)現(xiàn),這類批評(píng)話語的局限在于,它們僅關(guān)注介入性藝術(shù)產(chǎn)生的問題情境而不關(guān)心藝術(shù)內(nèi)部語義范式的運(yùn)作機(jī)制,使藝術(shù)批評(píng)缺乏話語針對(duì)性。第二章主要對(duì)介入性藝術(shù)審美意義生成機(jī)制進(jìn)行研究。首先針對(duì)介入性藝術(shù)所開啟的美學(xué)問題域進(jìn)行討論。以事件形態(tài)展開的介入性藝術(shù),其美學(xué)問題域的開啟經(jīng)歷了“藝術(shù)與美的分離”、“藝術(shù)作為一種命名”、“作為事件的藝術(shù)”三個(gè)步驟。它們揭示了以事件形態(tài)展開的介入性藝術(shù)如何在審美領(lǐng)域合法化。然后,以艾布拉姆斯的文藝創(chuàng)作“四要素”理論作為基本分析方法,同時(shí)以藝術(shù)創(chuàng)作中的“劇場(chǎng)性”作為問題出發(fā)點(diǎn)和著力點(diǎn),全面闡釋介入性藝術(shù)的“劇場(chǎng)性”審美意義生成機(jī)制的發(fā)展譜系(即“劇場(chǎng)性的遮蔽”、“劇場(chǎng)性的開啟”和“劇場(chǎng)性的確立”三個(gè)階段)、“劇場(chǎng)性”審美意義生成機(jī)制的特點(diǎn)(即去中心的、非同一的、基于對(duì)話的主體間性意義生成機(jī)制),并配合具體案例,對(duì)“劇場(chǎng)性”審美意義生成機(jī)制的概念圖示進(jìn)行分析。第三章從社會(huì)文化層面,對(duì)介入性藝術(shù)的兩個(gè)審美內(nèi)涵,即否定審美自律性和藝術(shù)的倫理轉(zhuǎn)向,進(jìn)行考察。通過將介入性藝術(shù)與前衛(wèi)藝術(shù)相比較發(fā)現(xiàn),介入性藝術(shù)與前衛(wèi)藝術(shù)的不同點(diǎn)在于兩者在對(duì)待審美自律性問題上的差異。該差異揭示了介入性藝術(shù)的第一個(gè)審美內(nèi)涵,即否定審美自律性。另外,在經(jīng)濟(jì)與文化分裂,交往與認(rèn)同分裂的當(dāng)代社會(huì)中,介入性藝術(shù)作品還扮演著促進(jìn)交往、增進(jìn)認(rèn)同和重建共同體的角色。這意味著,介入性藝術(shù)標(biāo)志著全球化語境下的藝術(shù)新趨勢(shì),即藝術(shù)的倫理轉(zhuǎn)向。事實(shí)上,介入性藝術(shù)的兩大審美內(nèi)涵同時(shí)也揭示了介入性藝術(shù)由審美的藝術(shù)向倫理的藝術(shù)的審美轉(zhuǎn)向。
[Abstract]:Engaged art is a new form of art in the 1990s. It belongs to the art of public art. In form, the intervention art is presented in a specific scene, the artist and the participants have done it together, the mixed media, the event art. The art practice based on the specific field reveals the art practice. The four elements of artistic creation, namely, the scene, the artist, the audience, the works and the intersubjectivity, mean that the meaning generation of the intervening art is produced in the formation mechanism of the aesthetic meaning of the theater. In content, the art of intervention refers to the art of the artist intervening into a specific social scene and conducting critical dialogue with the scene. It puts the tentacles of art into the social field, replacing the radical political movements such as protest and parade, becoming a link of interpersonal communication, restoring the social ties of fracture, stimulating dialogue, promoting the social and artistic complex of identity, denying the aesthetic self-discipline of modernism, and predicting the Ethical Turn of contemporary art. The critical discourse of interventional art is mostly from the external level of the social and cultural context, and it is still under an internal observation view of the artistic meaning generation way from the artistic semantic paradigm. In this paper, the investigation of the interventional art follows second paths, that is, to analyze the artistic meaning from the artistic semantic paradigm. In the first chapter, the practice form of interventional art can be traced back to the historical avant-garde in the early 20th century and the new avant-garde art movement in 60s. The practical form of the art of entry presents two characteristics: first, it dispels the boundary between art and life, and explores the symbiotic relationship between art and society. It is the change of the traditional art of art reflecting the social view of the real life. Secondly, it emphasizes the cooperative creative mode of the audience participating in the creation of art works, thus changing the artist's creation. The traditional artistic creation mode of the subject is found on the basis of the investigation of the intervention art criticism discourse, namely, "relationship aesthetics" and "disproportionate aesthetic aesthetics". The limitations of this kind of critical discourse lie in that they only pay attention to the problem situation produced by the intervention art and do not care about the operation mechanism of the internal semantic paradigm of the art, so that the art criticism is lack of discourse needles. The second chapter mainly studies the formation mechanism of the aesthetic meaning of the intervening art. Firstly, it discusses the aesthetic domain which is opened by the interventional art. The intervention art which is launched by the event form, its aesthetic domain opens through the "separation of art and beauty", "art as a name", "as an event." The three steps of art. They reveal how the intervention art developed in the form of event is legalized in the field of aesthetics. Then, the "four elements" theory of Abrams's literary and artistic creation is used as the basic analysis method, and the "theatrical" in the artistic creation is taken as a point and focus to explain the interventional art in an all-round way. The development pedigree of the "theater" aesthetic meaning generation mechanism (namely "theatrical Concealer", "theatrical opening" and "theatrical establishment" three stages), the characteristics of the formation mechanism of the aesthetic meaning of "theater" (namely, the central, non identical, based on the intersubjective meaning generation mechanism of dialogue), and with specific cases, and The third chapter examines the two aesthetic connotations of the interventional art from the social and cultural level, namely, the negative aesthetic self-discipline and the Ethical Turn of art. By comparing the interventional art with the avant-garde art, it is found that the intervention art is different from the avant-garde art. The difference between the two is the difference in the treatment of aesthetic self-discipline. The difference reveals the first aesthetic connotation of the interventional art, that is, the negation of the aesthetic self-discipline. In addition, in the contemporary society of economic and cultural division, communication and identification, the interventional art works also play the role of promoting communication, enhancing the identity and rebuilding the role of the community. It means that the intervention art symbolizes the new trend of art in the context of globalization, that is, the Ethical Turn of art. In fact, the two aesthetic connotations of the interventional art also reveal the Aesthetic Turn of the interventional art from aesthetic art to the art of ethics.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J01
，
本文編號(hào)：2133550
[Abstract]:Engaged art is a new form of art in the 1990s. It belongs to the art of public art. In form, the intervention art is presented in a specific scene, the artist and the participants have done it together, the mixed media, the event art. The art practice based on the specific field reveals the art practice. The four elements of artistic creation, namely, the scene, the artist, the audience, the works and the intersubjectivity, mean that the meaning generation of the intervening art is produced in the formation mechanism of the aesthetic meaning of the theater. In content, the art of intervention refers to the art of the artist intervening into a specific social scene and conducting critical dialogue with the scene. It puts the tentacles of art into the social field, replacing the radical political movements such as protest and parade, becoming a link of interpersonal communication, restoring the social ties of fracture, stimulating dialogue, promoting the social and artistic complex of identity, denying the aesthetic self-discipline of modernism, and predicting the Ethical Turn of contemporary art. The critical discourse of interventional art is mostly from the external level of the social and cultural context, and it is still under an internal observation view of the artistic meaning generation way from the artistic semantic paradigm. In this paper, the investigation of the interventional art follows second paths, that is, to analyze the artistic meaning from the artistic semantic paradigm. In the first chapter, the practice form of interventional art can be traced back to the historical avant-garde in the early 20th century and the new avant-garde art movement in 60s. The practical form of the art of entry presents two characteristics: first, it dispels the boundary between art and life, and explores the symbiotic relationship between art and society. It is the change of the traditional art of art reflecting the social view of the real life. Secondly, it emphasizes the cooperative creative mode of the audience participating in the creation of art works, thus changing the artist's creation. The traditional artistic creation mode of the subject is found on the basis of the investigation of the intervention art criticism discourse, namely, "relationship aesthetics" and "disproportionate aesthetic aesthetics". The limitations of this kind of critical discourse lie in that they only pay attention to the problem situation produced by the intervention art and do not care about the operation mechanism of the internal semantic paradigm of the art, so that the art criticism is lack of discourse needles. The second chapter mainly studies the formation mechanism of the aesthetic meaning of the intervening art. Firstly, it discusses the aesthetic domain which is opened by the interventional art. The intervention art which is launched by the event form, its aesthetic domain opens through the "separation of art and beauty", "art as a name", "as an event." The three steps of art. They reveal how the intervention art developed in the form of event is legalized in the field of aesthetics. Then, the "four elements" theory of Abrams's literary and artistic creation is used as the basic analysis method, and the "theatrical" in the artistic creation is taken as a point and focus to explain the interventional art in an all-round way. The development pedigree of the "theater" aesthetic meaning generation mechanism (namely "theatrical Concealer", "theatrical opening" and "theatrical establishment" three stages), the characteristics of the formation mechanism of the aesthetic meaning of "theater" (namely, the central, non identical, based on the intersubjective meaning generation mechanism of dialogue), and with specific cases, and The third chapter examines the two aesthetic connotations of the interventional art from the social and cultural level, namely, the negative aesthetic self-discipline and the Ethical Turn of art. By comparing the interventional art with the avant-garde art, it is found that the intervention art is different from the avant-garde art. The difference between the two is the difference in the treatment of aesthetic self-discipline. The difference reveals the first aesthetic connotation of the interventional art, that is, the negation of the aesthetic self-discipline. In addition, in the contemporary society of economic and cultural division, communication and identification, the interventional art works also play the role of promoting communication, enhancing the identity and rebuilding the role of the community. It means that the intervention art symbolizes the new trend of art in the context of globalization, that is, the Ethical Turn of art. In fact, the two aesthetic connotations of the interventional art also reveal the Aesthetic Turn of the interventional art from aesthetic art to the art of ethics.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J01
，
本文編號(hào)：2133550
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