本文選題：行為藝術(shù) + 身體　； 參考：《美術(shù)研究》2015年01期

【摘要】：盡管爭議重重,但世界范圍內(nèi)關(guān)于行為藝術(shù)的定義卻離不開時間、地點、行為藝術(shù)者的身體,以及與觀眾的交流這四個最基本要素。本文旨在表明在新的形勢下重新完整地理解行為藝術(shù)這四個要素的迫切性和必要性,特別是第四個要素,即藝術(shù)家作為人與觀眾作為人的交流。本文認(rèn)為行為藝術(shù)不僅是藝術(shù)自身發(fā)展和革命的需要,更是藝術(shù)交流和分享的需要——消解藝術(shù)家與觀眾之間的心理距離,增強觀眾對藝術(shù)創(chuàng)造行為的認(rèn)同感和參與性。因此,本文提出交流與互動對于行為藝術(shù)的價值實現(xiàn)的重要地位,以此糾正行為藝術(shù)家往往單方面以身體和裸體論行為藝術(shù)成敗的偏執(zhí)。
[Abstract]:Although there are many controversies, the definition of act art in the world is inseparable from the four most basic elements: time, place, the body of the act artist and the communication with the audience. The purpose of this paper is to demonstrate the urgency and necessity of re-understanding the four elements of behavioral art under the new situation, especially the fourth element, that is, the communication between the artist and the audience as human beings. This paper holds that the art of behavior is not only the need of the development and revolution of art itself, but also the need of artistic exchange and sharing-to dispel the psychological distance between the artist and the audience, and to enhance the audience's identity and participation in artistic creation. Therefore, this paper puts forward the important position of communication and interaction to the realization of the value of behavioral art, so as to correct the bigotry that behavioral artists often use body and nudity to discuss the success or failure of behavioral art unilaterally.
【作者單位】： 天津美術(shù)學(xué)院學(xué)報;
【分類號】：J5
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本文編號：2082634