【摘要】：這篇論文探討錄像藝術(shù)在中國當(dāng)代藝術(shù)的發(fā)展中如何以文化代理的身份發(fā)揮特殊的作用。在二十世紀(jì)90年代,官方和地下(非官方)的先鋒藝術(shù)之間有很大的差距。于是,錄像藝術(shù)充當(dāng)了兩個(gè)系統(tǒng)之間的一座開放的橋梁。由于錄像藝術(shù)涉及到新的技術(shù),并不帶有濃厚的意識(shí)形態(tài)色彩,所以相對(duì)于裝置與行為藝術(shù),更可能為當(dāng)局接受。本論文的目的是研究錄像藝術(shù)在中國如何發(fā)展,制度的變遷,以及中國錄像藝術(shù)中的審美理論。我的關(guān)注區(qū)域限定于1996年至2006年這段時(shí)段。它是中國錄像藝術(shù)的黃金時(shí)代,是錄像藝術(shù)向新媒體藝術(shù)轉(zhuǎn)變的關(guān)鍵時(shí)期,也是中國高等美術(shù)教育的轉(zhuǎn)折點(diǎn)。作為外來的概念,我會(huì)先介紹“錄像藝術(shù)”的由來,它的不同定義、技術(shù)影響等歷史狀貌。接著我詳細(xì)考察了錄像藝術(shù)如何被引入中國,如何在中國的三個(gè)平行的藝術(shù)世界(傳統(tǒng)文人美學(xué)、社會(huì)主義傳統(tǒng)以及全球性的當(dāng)代藝術(shù))背景下,得到全方位發(fā)展。在它進(jìn)入高等美術(shù)教育系統(tǒng)時(shí),我強(qiáng)調(diào)了它的獨(dú)特作用,并通過個(gè)案研究,分析代表藝術(shù)家如何通過實(shí)驗(yàn)讓這種變化成為可能。參照中國和國際藝術(shù)資訊,我最后以比較的方式,概述了中國錄像藝術(shù)的共性和個(gè)性。本論文所采用的“文化代理”(cultural agency)概念,意思是說不同程度的貢獻(xiàn)都能對(duì)社會(huì)的發(fā)展產(chǎn)生影響。中國經(jīng)過多年的“改革開放”,已經(jīng)有一批錄像藝術(shù)家采取各種策略來改善當(dāng)?shù)氐奈幕瘲l件,憑借藝術(shù)制作與展示,推動(dòng)社會(huì)的進(jìn)步。
[Abstract]:This paper discusses how video art plays a special role as a cultural agent in the development of Chinese contemporary art. In the 1990s there was a wide gap between official and underground (unofficial) avant-garde art. Thus, video art serves as an open bridge between the two systems. Video art is more likely to be accepted by the authorities than installation and behavioural art because it involves new technologies and does not have a strong ideological color. The purpose of this paper is to study the development of video art in China, the institutional changes, and the aesthetic theory of video art in China. My area of concern is limited to the period from 1996 to 2006. It is the golden age of Chinese video art, the key period of the transition from video art to new media art, and the turning point of Chinese higher art education. As a foreign concept, I will first introduce the origin of video art, its different definitions, technical influence and other historical features. Then I examined in detail how video art was introduced into China and how it developed in all directions under the background of China's three parallel artistic worlds (traditional literati aesthetics socialist tradition and global contemporary art). As it enters the higher art education system, I emphasize its unique role and, through case studies, analyze how representative artists make this change possible through experiments. Referring to Chinese and international art information, I finally summarize the commonness and individuality of Chinese video art in a comparative way. The concept of "cultural agent" (cultural agency) adopted in this paper means that different levels of contribution can affect the development of society. After many years of reform and opening up, a number of video artists have adopted various strategies to improve local cultural conditions and promote social progress by means of artistic production and display.
【學(xué)位授予單位】：中國美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J5
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本文編號(hào)：2451718