本文選題：都市化　切入點(diǎn)：進(jìn)程　出處：《華東師范大學(xué)》2004年碩士論文　論文類型：學(xué)位論文

【摘要】：80年代以來，中國(guó)的當(dāng)代藝術(shù)發(fā)展經(jīng)歷了奇異而曲折的歷程，對(duì)“文革”進(jìn)行嚴(yán)肅反思的“傷痕熱”、表現(xiàn)邊遠(yuǎn)地區(qū)少數(shù)民族風(fēng)情的“鄉(xiāng)土熱”、對(duì)西方現(xiàn)代藝術(shù)全面模仿借鑒的“85新潮”、帶有冷戰(zhàn)意識(shí)形態(tài)色彩的“政治波普”、“潑皮”和商業(yè)藝術(shù)等令人應(yīng)接不暇的現(xiàn)象都在這十幾年里輪番登場(chǎng)。而到了20世紀(jì)90年代，隨著中國(guó)改革開放的深入和全球經(jīng)濟(jì)一體化浪潮的催助，中國(guó)社會(huì)最重要的變化體現(xiàn)為“都市化”進(jìn)程的加劇，它正在世界范圍內(nèi)創(chuàng)造著驚人的速度。對(duì)于中國(guó)當(dāng)代藝術(shù)，它也起到了異常重要的影響。 首先，都市化中，藝術(shù)的主題發(fā)生了轉(zhuǎn)變。尤其表現(xiàn)在傳統(tǒng)的架上繪畫上。如：陳文波的“都市系列”、曾梵志的“面具”、王向明的“熱帶候鳥”、曾浩的“微型家庭”，這些作品的題材都來源于都市，和以往那些以鄉(xiāng)土、懷舊和民族主義為特征的被樣式化的中國(guó)當(dāng)代藝術(shù)形成明顯的區(qū)別。 其次，都市化中，藝術(shù)的形式發(fā)生了轉(zhuǎn)變�！熬C合材料”的概念就是以工業(yè)社會(huì)的外部條件而實(shí)現(xiàn)的，如：“狀態(tài)”、“零點(diǎn)”等探討材料藝術(shù)的展覽；此外，錄像、攝影、DV等新媒體藝術(shù)大量地涌現(xiàn)，也成為了當(dāng)代藝術(shù)的重要組成部分。 再次，都市化中，藝術(shù)更多介入公共空間。趙半狄和熊貓的種種行為，使得藝術(shù)與中國(guó)都市社會(huì)更密切地結(jié)合在了一起；公共雕塑等形式使藝術(shù)家們?cè)诔鞘兄凶畲笙薅鹊嘏c人群發(fā)生著直接的關(guān)系。 而“都市化”的進(jìn)程，對(duì)于中國(guó)當(dāng)代藝術(shù)具有相當(dāng)大的價(jià)值意義。 第一，都市有發(fā)達(dá)的政治、經(jīng)濟(jì)、文化條件，中國(guó)當(dāng)代藝術(shù)的“都市化”實(shí)現(xiàn)了都市與藝術(shù)家的互動(dòng)關(guān)系。上海、北京、成都成為了重要的藝術(shù)中心。這源于大都市寬松的政治環(huán)境、較優(yōu)厚的市場(chǎng)經(jīng)濟(jì)條件、較完善的文化設(shè)施。 第二，都市的急劇發(fā)展引發(fā)了復(fù)雜的社會(huì)問題，中國(guó)當(dāng)代藝術(shù)的“都市化”是對(duì)當(dāng)今城市問題的深刻反映。因?yàn)�，急速的現(xiàn)代化轉(zhuǎn)型將中國(guó)社會(huì)變得越來越復(fù)雜。在這繁忙興旺的景象背后，也明顯的存在引人憂慮的問題。諸多展覽都顯明了，中國(guó)藝術(shù)家正通過不同的角度和視點(diǎn)，對(duì)于種種新舊社會(huì)意識(shí)形態(tài)和社會(huì)問題進(jìn)行著人文的關(guān)懷。 第三，，中國(guó)當(dāng)代藝術(shù)的“都市化”是在國(guó)際舞臺(tái)上經(jīng)歷了“跨文化”主義后的新發(fā)展。90年代初，國(guó)際策展人的后殖民主義眼光曾使“異國(guó)情調(diào)”在國(guó)際舞臺(tái)上遮蔽了“中國(guó)”。而隨著“都市化”的發(fā)展，“東方”與“西方”、“傳統(tǒng)”與“現(xiàn)代”在多變的狀態(tài)下不斷進(jìn)行著面對(duì)面的相互碰撞，秉著對(duì)傳統(tǒng)文化的傳承，中國(guó)藝術(shù)家們開始創(chuàng)造一個(gè)帶有中國(guó)社會(huì)性與現(xiàn)代性混合的藝術(shù)模式。 關(guān)于中國(guó)當(dāng)代藝術(shù)“都市化”的前路，歸納了以下幾點(diǎn)： 第一，西方藝術(shù)市場(chǎng)經(jīng)過長(zhǎng)期的發(fā)展，目前已形成了一整套完備的機(jī)制。中國(guó)當(dāng)代藝術(shù)“都市化”的發(fā)展，可以借鑒國(guó)外成熟的藝術(shù)體制。如，2002上海雙年展就實(shí)行了新的展覽操作模式——策展人制度。 第二，在全球“都市化”的潮流中，中國(guó)當(dāng)代藝術(shù)的“都市化”之路建立在交流的基礎(chǔ)上。如，25屆圣保羅雙年展，威尼斯雙年展第一次建立中國(guó)館，都表明了只有基于本土文化發(fā)展邏輯的創(chuàng)造性智慧，才能發(fā)揮出國(guó)際間文化對(duì)話的主體性。 第三，拒絕“偽都市”，走出有中國(guó)特色的“都市化”之路。中國(guó)一些年輕藝術(shù)家在形式上越來越國(guó)際化，但在藝術(shù)思想和表達(dá)的經(jīng)驗(yàn)深度上卻越來越蒼白和空洞。面對(duì)著這個(gè)特別的“都市化”階段，只有從本身的生活地點(diǎn)的現(xiàn)實(shí)出發(fā)才能對(duì)之作出不同的回答。
[Abstract]:Since 80s, the development of contemporary art China experienced a strange and tortuous process of the "Cultural Revolution" serious reflection "scar hot" performance in remote areas of ethnic minorities "local hot" of western modern art fully imitated the "85 new wave", with the cold war ideology of "political pop", "hooligan" and commercial art is too busy to attend to all phenomenon turns the stage in this decade. And in 1990s, with the urge to help China the deepening of reform and opening-up and the wave of global economic integration, Chinese society the most important change is the embodiment of "urbanization" intensifies, it is within the scope of the world to create a amazing speed. Chinese for contemporary art, it also has huge impact.
First of all, urbanization, changed the theme of art. Especially in the traditional easel painting. Such as: Chen Wenbo "City Series", Zeng Fanzhi "Mask", "tropical birds" of Wang Xiangming, Zeng Hao's "mini family", these themes are derived from the city, and those with local, obvious differences Chinese contemporary art features nostalgic and nationalistic style was formed.
Secondly, urbanization, changes in the form of art. The concept of "material" is in the condition of the industry society to achieve, such as: "state", "zero" to explore the materials of art exhibition; in addition, video, photography, DV and other new media art emerges massively, has also become an important part of contemporary art.
Thirdly, in the process of urbanization, art is more involved in public space. The actions of Zhao Bandi and the panda make art more closely integrated with Chinese urban society. Public sculptures and other forms enable artists to have a direct relationship with people in the city.
The process of "urbanization" is of great value to Chinese contemporary art.
First, the city has developed political, economic and cultural conditions, China contemporary art of "urbanization" to achieve the interaction between city and artists. Shanghai, Beijing, Chengdu became an important center for the arts. This originates from the metropolis relaxed political environment, more favorable conditions of market economy, perfect the cultural facilities.
Second, the rapid development of the city led to the complex social problems, China contemporary art of "urbanization" is the profound reflection of city problems. Because of rapid modernization Chinese social transformation will become more and more complex. At the back of the busy and prosperous, there are also obvious anxieties about the problem. Many exhibitions that is, China artists from different angles and viewpoints, for all sorts of social ideology and social problems with humanity.
Third, China contemporary art of "urbanization" is in the international arena has experienced "cross-cultural" after the new development of.90 in the early 1980s, the curator of the post colonial perspective has made the "exotic" in the international arena covered "Chinese." with the development of "urbanization", "Oriental" and "the west", "tradition" and "modern" in the constant of face-to-face collision, based on the traditional culture, China artists began to create a pattern with art and modern society Chinese mixed.
On the front road of "urbanization" of Chinese contemporary art, the following points are summed up.
First, the western art market after a long-term development, has formed a complete set of mechanism. China contemporary art of "urbanization" development, we can learn from foreign mature art system. For example, the 2002 Shanghai Biennale on the implementation of the new mode of operation - exhibition curator.
In second, the global urbanization trend, Chinese contemporary art "urbanization" way based on the foundation of communication. For example, the 25 St Paul Biennale, Venice Biennale first established China Museum, shows that only based on local culture development logic of creative intelligence, in order to play the subjectivity of cultural dialogue international.
Third, refused to "pseudo city" of China characteristics of "urbanization" of the road. Some of the young artists China more and more international in form, but in the depth of experience and expression of the artistic thought is more and more pale and empty. In the face of this special "urbanization" stage, only from their own place to live the reality can make different answers to it.

【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J120

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