本文選題：景觀社會(huì) + 圖像��； 參考：《清華大學(xué)》2016年博士論文

【摘要】：當(dāng)下,圖像成為了我們生活的重要組成部分,它不再僅是對(duì)現(xiàn)實(shí)生活的反映,而是帶來(lái)了人類(lèi)視覺(jué)方式的深刻變革。這些圖像日益擴(kuò)展并滲入到我們生活的各各領(lǐng)域,人們被越來(lái)越密集的圖像包圍:照片、廣告、電影、電視、電腦、手機(jī)、互聯(lián)網(wǎng)等。這些靜態(tài)或動(dòng)態(tài)的圖像構(gòu)成了我們今日的生活景觀,促使我們的文化發(fā)生了劇烈的轉(zhuǎn)型,即由語(yǔ)言為中心的印刷文化逐漸向以圖像為中心的視覺(jué)文化的轉(zhuǎn)變。這一轉(zhuǎn)變從根本上動(dòng)搖了千百年來(lái)繪畫(huà)賴(lài)以存在和發(fā)展的根基。當(dāng)代繪畫(huà)已經(jīng)從傳統(tǒng)的再現(xiàn)性、敘事性、表現(xiàn)性、象征性的功能,轉(zhuǎn)變?yōu)閷?duì)社會(huì)文化的反思與批判。談到當(dāng)代繪畫(huà)的批判性與觀念化,本文將研究背景定義在“景觀社會(huì)”的議題中,《景觀社會(huì)》是法國(guó)著名思想家居伊·德波的代表作,該書(shū)于1967年出版并產(chǎn)生廣泛影響。德波將批判的矛頭最早指向了被影像異化了的大眾生活,他的理論在今天仍具啟示意義。“景觀社會(huì)”的提出正直后現(xiàn)代藝術(shù)向當(dāng)代藝術(shù)過(guò)度的階段,各種思潮此起彼伏,激浪派、偶發(fā)藝術(shù)、行為藝術(shù)、貧窮藝術(shù)等團(tuán)體涌現(xiàn),他們強(qiáng)調(diào)藝術(shù)作品展現(xiàn)的是藝術(shù)的態(tài)度,而不是某種風(fēng)格,以此表達(dá)他們沖破禁忌的訴求。當(dāng)代藝術(shù)由此拉開(kāi)帷幕。本文以20世紀(jì)90年代以來(lái)的十位歐洲藝術(shù)家的作品為研究對(duì)象。他們大多出生在20世紀(jì)60年代后,成長(zhǎng)于“景觀社會(huì)”之中,他們?cè)噲D擺脫圖像對(duì)人類(lèi)的操控,并嘗試運(yùn)用繪畫(huà)自身語(yǔ)言進(jìn)行言說(shuō),創(chuàng)作出圖像時(shí)代“另類(lèi)”的圖像。這些繪畫(huà)真實(shí)地記錄了一個(gè)身處圖像世界的生命體對(duì)“景觀”的反思與批判。當(dāng)代繪畫(huà)與現(xiàn)代繪畫(huà)最大的區(qū)別正在于它的觀念性。藝術(shù)家將“態(tài)度”轉(zhuǎn)變?yōu)樾碌睦L畫(huà)形式,更深刻地抵達(dá)了圖片背后的真實(shí)。他們重新反思?xì)v史,傳統(tǒng)文化及當(dāng)下的現(xiàn)實(shí)語(yǔ)境,將圖像和不同形式風(fēng)格重新組合在新的結(jié)構(gòu)中,從根本上切斷了被挪用圖像的原初語(yǔ)境,使其具備新的意義。在觀念化及問(wèn)題意識(shí)的基礎(chǔ)上,藝術(shù)家的眼與心與物融合,畫(huà)面中的筆觸與線條發(fā)生由內(nèi)而外的改變,這種繪畫(huà)的語(yǔ)言形式真正超越的現(xiàn)代藝術(shù)的形式主義局限,具備了時(shí)代的文化內(nèi)質(zhì)。在研究過(guò)程中,筆者試圖找尋圖像流變的歷史根源,并展望繪畫(huà)的未來(lái)發(fā)展,從我們對(duì)當(dāng)代藝術(shù)現(xiàn)象的觀看與評(píng)判中,反思“景觀社會(huì)”中人類(lèi)的生存境遇,力圖使我們面對(duì)圖像與當(dāng)代藝術(shù)時(shí)所持的態(tài)度更加理性和從容。
[Abstract]:At present, image has become an important part of our life. It is not only a reflection of real life, but also a profound change in human visual style. These images are expanding and infiltrating into every field of our life, and people are surrounded by more and more dense images: photos, advertisements, movies, television, computers, mobile phones, the Internet and so on. These static or dynamic images constitute the landscape of our life today, and promote the drastic transformation of our culture, that is, the transformation from the language-centered printing culture to the image-centered visual culture. This change has shaken the foundation of the existence and development of painting for thousands of years. Contemporary painting has changed from its traditional functions of reproduction, narrative, expressiveness and symbolism to reflection and criticism of social culture. On the criticism and conceptualization of contemporary painting, this paper defines the research background in the topic of "landscape society". Landscape Society is the masterpiece of the famous French thinker Guy de Bo, which was published in 1967 and has a wide influence. De Bo first pointed the criticism at the alienated public life, and his theory is still enlightening today. "Landscape Society" put forward the stage of the transition from the upright post-modern art to the contemporary art. Various trends of thought have sprung up one after another, the surge school, the occasional art, the performance art, the poor art, and so on. They express their desire to break through taboos by emphasizing that art shows an artistic attitude rather than a style. Contemporary art starts from this. This paper focuses on the works of ten European artists since the 1990 s. Most of them were born in the 1960s and grew up in "landscape society". They try to get rid of the manipulation of images to human beings, and try to use their own language to speak, to create "alternative" images of the image age. These paintings truly record the reflection and criticism of the landscape by a living body in the image world. The biggest difference between contemporary painting and modern painting lies in its concept. The artist transforms attitude into a new form of painting, reaching deeper into the truth behind the picture. They rethink history, traditional culture and the present realistic context, recombine images and different styles in the new structure, fundamentally cut off the original context of the misappropriated image and make it have new meaning. On the basis of conceptualization and problem consciousness, the artist's eyes and heart are merged with things, the strokes and lines in the picture change from inside to outside, and the formalism limitation of modern art that the language form of this painting really surmounts. It has the cultural essence of the times. In the course of the research, the author tries to find out the historical root of image evolution, and looks forward to the future development of painting. From the view and evaluation of contemporary art phenomenon, the author reflects on the living conditions of human beings in "landscape society". Try to make us face the image and contemporary art attitude more rational and calm.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：J205
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本文編號(hào)：2049771