發(fā)布時(shí)間：2018-08-15 13:13

【摘要】：本文選取生于1963年的中國(guó)當(dāng)代藝術(shù)家尹秀珍作為藝術(shù)家個(gè)案研究對(duì)象。尹秀珍的藝術(shù)創(chuàng)作從1994年開始,形式以現(xiàn)成品的裝置藝術(shù)為主,少數(shù)作品結(jié)合行為、影像、照片等手段,創(chuàng)作脈絡(luò)連貫,一直持續(xù)至今,而且,不同時(shí)期都有代表性的作品。尹秀珍的藝術(shù)創(chuàng)作不僅有鮮明的個(gè)人特點(diǎn),蘊(yùn)藏著濃郁的個(gè)人體驗(yàn),同時(shí)在一定程度上映射出社會(huì)生存者的共同境遇,涉及到諸多公共話語(yǔ),抑或是“中國(guó)經(jīng)驗(yàn)”。這些公共話語(yǔ)與改革開放以來(lái),中國(guó)社會(huì)的轉(zhuǎn)型,以及獨(dú)特的文化境遇是密切聯(lián)系的。不過,目前國(guó)內(nèi)對(duì)尹秀珍的研究成果并不多,也不太深入,甚至有的研究存在著將藝術(shù)家的創(chuàng)作“標(biāo)簽化”的危險(xiǎn)。本文基于大量的一手資料,并結(jié)合藝術(shù)家的個(gè)人創(chuàng)作札記,大量的訪談、批評(píng)家的對(duì)話等,梳理、分析藝術(shù)家在創(chuàng)作主題上的變化、對(duì)媒介的運(yùn)用以及創(chuàng)作觀念的發(fā)展路徑,從而對(duì)藝術(shù)家至今的藝術(shù)創(chuàng)作進(jìn)行分類,展示藝術(shù)家獨(dú)特的藝術(shù)理念和創(chuàng)作智慧,并對(duì)每個(gè)階段的典型性作品進(jìn)行闡釋。同時(shí)將藝術(shù)家的創(chuàng)作融入到中國(guó)當(dāng)代藝術(shù)的發(fā)展譜系中,力圖討論尹秀珍在方法與藝術(shù)觀念做出的貢獻(xiàn)。事實(shí)上,在尹秀珍的藝術(shù)中,自我與社會(huì),個(gè)人與集體,記憶與現(xiàn)實(shí),歷史與變遷始終是密不可分的。然而,對(duì)上述問題的思考,始終以藝術(shù)家非常個(gè)人化的手法表現(xiàn)出來(lái),抑或說成為藝術(shù)家個(gè)人敘述的重要來(lái)源。因此筆者將其從1994年至今的藝術(shù)創(chuàng)作分大致為三個(gè)階段。第一個(gè)階段是從1994年至1996年,這一時(shí)期的作品具有濃郁的現(xiàn)代主義視角,大多是對(duì)個(gè)體存在,及其文化身份的追問,在表達(dá)上,十分重視私密化的情感體驗(yàn),代表作品有《衣箱》、《泥鞋》等。第二個(gè)階段是從1997至2000年,面對(duì)社會(huì)的轉(zhuǎn)型與都市化進(jìn)程的高速發(fā)展,藝術(shù)家十分強(qiáng)調(diào)周遭的社會(huì)現(xiàn)實(shí)與存在境遇,以批判性的眼光,思考個(gè)人與集體、社會(huì)與歷史,尤其是個(gè)人的生存狀態(tài)的問題。從文化訴求上,許多作品都涉及到公共話語(yǔ)—“中國(guó)”,代表作品有《平安大街》、《北京》和《行李箱》等。第三個(gè)階段是正在發(fā)展的階段,從2001年至今,這一階段,尹秀珍不僅是國(guó)內(nèi)也是國(guó)際上有影響的當(dāng)代藝術(shù)家。國(guó)際旅行、跨國(guó)參加藝術(shù)展覽與藝術(shù)項(xiàng)目已經(jīng)是藝術(shù)家的生活常態(tài),同時(shí)正是由于藝術(shù)家本人的切身經(jīng)歷,得以使她以國(guó)際視野和角度對(duì)自己和所處的環(huán)境進(jìn)行觀察、反思,此階段的創(chuàng)作被歸為第三階段:國(guó)際話語(yǔ)—公共話語(yǔ)的放大,代表作品有:《可攜帶的城市》系列、《時(shí)尚恐怖主義》系列等。在這二十余年的創(chuàng)作中,尹秀珍不僅將創(chuàng)作的主題由對(duì)自我個(gè)體的關(guān)注與思考,延伸至對(duì)中國(guó)社會(huì)的劇變以及所夾帶的個(gè)人與集體、歷史與變遷的問題,文化的游牧,及其跨文化的視角,使其更關(guān)注全球化語(yǔ)境中所面對(duì)的生存困境。無(wú)論是從私密情感階段使用的藝術(shù)家本人的舊衣服和木質(zhì)的手提箱,到之后公共話語(yǔ)階段出現(xiàn)的不同陌生人的舊衣服和帶輪子的拉桿箱,實(shí)質(zhì)在隱喻著個(gè)人和集體的歷史與變化,傳統(tǒng)的歷史與國(guó)際語(yǔ)境的變化。而這也正是當(dāng)代人在全球化語(yǔ)境中的一種宿命:走出狹域生存,進(jìn)入廣域生存。正如所說Philippe Vergne(菲利普·維赫涅):尹秀珍讓自己獨(dú)立于主流美學(xué)模式及分布網(wǎng)絡(luò)之外,但對(duì)于形式問題,她并沒有采取一種二元論式的對(duì)立姿態(tài),她并不是要探索重新發(fā)明形式語(yǔ)言的可能,而是選擇把既有語(yǔ)言當(dāng)做現(xiàn)成的工具進(jìn)行曲解和轉(zhuǎn)譯。她的實(shí)踐在我們稱之為“做有政治性的藝術(shù)”與“以政治手法做藝術(shù)”之間的狹小空隙里展開。[1]本文以符號(hào)學(xué)、心理分析、文獻(xiàn)學(xué)和社會(huì)學(xué)相結(jié)合的研究方法挖掘其藝術(shù)作品中的創(chuàng)作理念,通過對(duì)其各個(gè)時(shí)期代表性作品的闡釋,并結(jié)合當(dāng)時(shí)的社會(huì)與文化語(yǔ)境,力圖較為全面的展現(xiàn)尹秀珍的創(chuàng)作軌跡與藝術(shù)智慧,希望將其作品放入中國(guó)當(dāng)代藝術(shù)的上下文中予以審視,提供一個(gè)真實(shí)、飽滿、豐富、生動(dòng)的藝術(shù)個(gè)案。
[Abstract]:Yin Xiuzhen, a contemporary Chinese artist born in 1963, is selected as the research object of this paper. Since 1994, Yin Xiuzhen's artistic creation has been based on the ready-made installation art, and a few works have been combined with behavior, images, photographs and other means to create a coherent context, which has lasted to this day. Moreover, representative works in different periods have been created. Pin. Yin Xiuzhen's artistic creation not only has distinct personal characteristics and rich personal experience, but also reflects to a certain extent the common situation of social survivors, involving many public discourses, or "Chinese experience". These public discourses and the transformation of Chinese society since the reform and opening up, as well as the unique cultural situation. However, at present, there is not much research on Yin Xiuzhen in China, and there is even a danger of labeling artists'works. This paper combs and analyzes artists based on a large number of first-hand information, combined with the artists' personal notes, a large number of interviews, Critics'dialogues and so on. The changes in creative themes, the use of media and the development of creative concepts, so as to classify the artists'artistic creation so far, show the artists' unique artistic concepts and creative wisdom, and interpret the typical works of each stage. In fact, in Yin Xiuzhen's art, self and society, individual and collective, memory and reality, history and change have always been inseparable. Nevertheless, the thinking on these issues has always been expressed in an artist's very personal way, or has become an art. The first stage is from 1994 to 1996. The works of this period have a strong modernist perspective. Most of them are the questioning of individual existence and its cultural identity. In terms of expression, they attach great importance to the emotional style of privatization. In the second stage, from 1997 to 2000, facing the rapid development of social transformation and urbanization, the artist emphasized the social reality and the existing situation around him, thinking critically about the individual and the collective, the society and history, especially the living conditions of the individual. The third stage is the developing stage. From 2001 to the present, Yin Xiuzhen is not only an influential contemporary artist at home but also at home and abroad. Art projects have become the norm of the artist's life, and it is precisely because of the artist's own personal experience that she can observe and reflect on herself and her surroundings from an international perspective. The creation of this stage is classified as the third stage: the amplification of international discourse - public discourse, which represents the works of the "Portable Cities" series. In the past twenty years, Yin Xiuzhen has not only extended her creative themes from her concern and Reflection on her own individual to the dramatic changes in Chinese society, as well as the individual and collective, the problems of history and change, the nomadic culture, and the cross-cultural perspective, making her pay more attention to the aspects in the context of globalization. From the old clothes and wooden suitcases of the artist himself used in the stage of intimacy to the old clothes and pull-wheeled suitcases of different strangers appearing in the stage of public discourse afterwards, the essence of the dilemma is a metaphor for the history and change of individuals and groups, the change of traditional history and international context. As Philippe Vergne said, Yin Xiuzhen made herself independent from the mainstream aesthetic model and the distribution network, but she did not take a dualistic antagonistic attitude toward the issue of form, and she was not trying to explore it. The possibility of reinventing formal language is to distort and translate the existing language as a ready-made tool. Her practice unfolds in the narrow gap between what we call "political art" and "political art". [1] This paper is a study combining semiotics, psychoanalysis, philology and sociology. The research method excavates the creation idea in his artistic work, through the explanation of his representative works in each period, and combining with the social and cultural context at that time, tries hard to show Yin Xiuzhen's creation track and artistic wisdom more comprehensively, hopes to put his works into the context of Chinese contemporary art to examine and provide a true and full. Full, rich and vivid art cases.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J05

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