“介入性艺术”的审美意义生成机制研究
发布时间：2018-07-20 12:43
【摘要】：介入性艺术(engaged art)是二十世纪九十年代艺术的新样态。它属于公共艺术的一种。在形式上,介入性艺术呈现为在特定现场开展的,艺术家与参与者共同完成的,混合媒介的,事件性艺术。这种基于特定现场发生的在地艺术实践揭示了艺术创作四要素,即现场、艺术家、观众、作品,之间的主体间性的对话关系,意味着介入性艺术的意义生成是在“剧场性”审美意义生成机制中产生的。在内容上,介入性艺术是指艺术家介入到特定的社会现场,与现场展开批判性对话的艺术,它将艺术的触角深入到社会领域,取代抗议、游行等激进的政治运动,成为链接人际交往,修复断裂的社会纽带、激发对话、增进认同的社会与艺术综合体,是对现代主义审美自律性的否定,同时也预示了当代艺术的伦理转向。目前有关介入性艺术的批评话语多半从社会文化语境的外部层面,对这一艺术现象进行观照,尚欠一种从艺术语义范式分析艺术意义生成方式的内部观察视野。本文对介入性艺术的考察,遵循了第二条路径,即从艺术语义范式分析艺术意义生成方式之路径,并将这种意义生成方式称为“审美意义生成机制”。第一章对介入性艺术的实践形态进行考察。介入性艺术的早期实践形态可以追溯自上世纪初的历史前卫主义,以及60年代的新前卫主义艺术运动。与早期形态相比,当代介入性艺术的实践形态呈现两个特点:首先,它消解艺术与生活边界,探索艺术与社会的共生关系,是“艺术反映现实生活”这一传统艺术—社会观的变革。其次,它强调观众参与艺术作品创作的合作式创作模式,从而改变了艺术家为创作主体的传统艺术创作模式。在考察介入性艺术批评话语,即“关系美学”和“歧感美学”的基础上发现,这类批评话语的局限在于,它们仅关注介入性艺术产生的问题情境而不关心艺术内部语义范式的运作机制,使艺术批评缺乏话语针对性。第二章主要对介入性艺术审美意义生成机制进行研究。首先针对介入性艺术所开启的美学问题域进行讨论。以事件形态展开的介入性艺术,其美学问题域的开启经历了“艺术与美的分离”、“艺术作为一种命名”、“作为事件的艺术”三个步骤。它们揭示了以事件形态展开的介入性艺术如何在审美领域合法化。然后,以艾布拉姆斯的文艺创作“四要素”理论作为基本分析方法,同时以艺术创作中的“剧场性”作为问题出发点和着力点,全面阐释介入性艺术的“剧场性”审美意义生成机制的发展谱系(即“剧场性的遮蔽”、“剧场性的开启”和“剧场性的确立”三个阶段)、“剧场性”审美意义生成机制的特点(即去中心的、非同一的、基于对话的主体间性意义生成机制),并配合具体案例,对“剧场性”审美意义生成机制的概念图示进行分析。第三章从社会文化层面,对介入性艺术的两个审美内涵,即否定审美自律性和艺术的伦理转向,进行考察。通过将介入性艺术与前卫艺术相比较发现,介入性艺术与前卫艺术的不同点在于两者在对待审美自律性问题上的差异。该差异揭示了介入性艺术的第一个审美内涵,即否定审美自律性。另外,在经济与文化分裂,交往与认同分裂的当代社会中,介入性艺术作品还扮演着促进交往、增进认同和重建共同体的角色。这意味着,介入性艺术标志着全球化语境下的艺术新趋势,即艺术的伦理转向。事实上,介入性艺术的两大审美内涵同时也揭示了介入性艺术由审美的艺术向伦理的艺术的审美转向。
[Abstract]:Engaged art is a new form of art in the 1990s. It belongs to the art of public art. In form, the intervention art is presented in a specific scene, the artist and the participants have done it together, the mixed media, the event art. The art practice based on the specific field reveals the art practice. The four elements of artistic creation, namely, the scene, the artist, the audience, the works and the intersubjectivity, mean that the meaning generation of the intervening art is produced in the formation mechanism of the aesthetic meaning of the theater. In content, the art of intervention refers to the art of the artist intervening into a specific social scene and conducting critical dialogue with the scene. It puts the tentacles of art into the social field, replacing the radical political movements such as protest and parade, becoming a link of interpersonal communication, restoring the social ties of fracture, stimulating dialogue, promoting the social and artistic complex of identity, denying the aesthetic self-discipline of modernism, and predicting the Ethical Turn of contemporary art. The critical discourse of interventional art is mostly from the external level of the social and cultural context, and it is still under an internal observation view of the artistic meaning generation way from the artistic semantic paradigm. In this paper, the investigation of the interventional art follows second paths, that is, to analyze the artistic meaning from the artistic semantic paradigm. In the first chapter, the practice form of interventional art can be traced back to the historical avant-garde in the early 20th century and the new avant-garde art movement in 60s. The practical form of the art of entry presents two characteristics: first, it dispels the boundary between art and life, and explores the symbiotic relationship between art and society. It is the change of the traditional art of art reflecting the social view of the real life. Secondly, it emphasizes the cooperative creative mode of the audience participating in the creation of art works, thus changing the artist's creation. The traditional artistic creation mode of the subject is found on the basis of the investigation of the intervention art criticism discourse, namely, "relationship aesthetics" and "disproportionate aesthetic aesthetics". The limitations of this kind of critical discourse lie in that they only pay attention to the problem situation produced by the intervention art and do not care about the operation mechanism of the internal semantic paradigm of the art, so that the art criticism is lack of discourse needles. The second chapter mainly studies the formation mechanism of the aesthetic meaning of the intervening art. Firstly, it discusses the aesthetic domain which is opened by the interventional art. The intervention art which is launched by the event form, its aesthetic domain opens through the "separation of art and beauty", "art as a name", "as an event." The three steps of art. They reveal how the intervention art developed in the form of event is legalized in the field of aesthetics. Then, the "four elements" theory of Abrams's literary and artistic creation is used as the basic analysis method, and the "theatrical" in the artistic creation is taken as a point and focus to explain the interventional art in an all-round way. The development pedigree of the "theater" aesthetic meaning generation mechanism (namely "theatrical Concealer", "theatrical opening" and "theatrical establishment" three stages), the characteristics of the formation mechanism of the aesthetic meaning of "theater" (namely, the central, non identical, based on the intersubjective meaning generation mechanism of dialogue), and with specific cases, and The third chapter examines the two aesthetic connotations of the interventional art from the social and cultural level, namely, the negative aesthetic self-discipline and the Ethical Turn of art. By comparing the interventional art with the avant-garde art, it is found that the intervention art is different from the avant-garde art. The difference between the two is the difference in the treatment of aesthetic self-discipline. The difference reveals the first aesthetic connotation of the interventional art, that is, the negation of the aesthetic self-discipline. In addition, in the contemporary society of economic and cultural division, communication and identification, the interventional art works also play the role of promoting communication, enhancing the identity and rebuilding the role of the community. It means that the intervention art symbolizes the new trend of art in the context of globalization, that is, the Ethical Turn of art. In fact, the two aesthetic connotations of the interventional art also reveal the Aesthetic Turn of the interventional art from aesthetic art to the art of ethics.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J01
，
本文编号：2133550
[Abstract]:Engaged art is a new form of art in the 1990s. It belongs to the art of public art. In form, the intervention art is presented in a specific scene, the artist and the participants have done it together, the mixed media, the event art. The art practice based on the specific field reveals the art practice. The four elements of artistic creation, namely, the scene, the artist, the audience, the works and the intersubjectivity, mean that the meaning generation of the intervening art is produced in the formation mechanism of the aesthetic meaning of the theater. In content, the art of intervention refers to the art of the artist intervening into a specific social scene and conducting critical dialogue with the scene. It puts the tentacles of art into the social field, replacing the radical political movements such as protest and parade, becoming a link of interpersonal communication, restoring the social ties of fracture, stimulating dialogue, promoting the social and artistic complex of identity, denying the aesthetic self-discipline of modernism, and predicting the Ethical Turn of contemporary art. The critical discourse of interventional art is mostly from the external level of the social and cultural context, and it is still under an internal observation view of the artistic meaning generation way from the artistic semantic paradigm. In this paper, the investigation of the interventional art follows second paths, that is, to analyze the artistic meaning from the artistic semantic paradigm. In the first chapter, the practice form of interventional art can be traced back to the historical avant-garde in the early 20th century and the new avant-garde art movement in 60s. The practical form of the art of entry presents two characteristics: first, it dispels the boundary between art and life, and explores the symbiotic relationship between art and society. It is the change of the traditional art of art reflecting the social view of the real life. Secondly, it emphasizes the cooperative creative mode of the audience participating in the creation of art works, thus changing the artist's creation. The traditional artistic creation mode of the subject is found on the basis of the investigation of the intervention art criticism discourse, namely, "relationship aesthetics" and "disproportionate aesthetic aesthetics". The limitations of this kind of critical discourse lie in that they only pay attention to the problem situation produced by the intervention art and do not care about the operation mechanism of the internal semantic paradigm of the art, so that the art criticism is lack of discourse needles. The second chapter mainly studies the formation mechanism of the aesthetic meaning of the intervening art. Firstly, it discusses the aesthetic domain which is opened by the interventional art. The intervention art which is launched by the event form, its aesthetic domain opens through the "separation of art and beauty", "art as a name", "as an event." The three steps of art. They reveal how the intervention art developed in the form of event is legalized in the field of aesthetics. Then, the "four elements" theory of Abrams's literary and artistic creation is used as the basic analysis method, and the "theatrical" in the artistic creation is taken as a point and focus to explain the interventional art in an all-round way. The development pedigree of the "theater" aesthetic meaning generation mechanism (namely "theatrical Concealer", "theatrical opening" and "theatrical establishment" three stages), the characteristics of the formation mechanism of the aesthetic meaning of "theater" (namely, the central, non identical, based on the intersubjective meaning generation mechanism of dialogue), and with specific cases, and The third chapter examines the two aesthetic connotations of the interventional art from the social and cultural level, namely, the negative aesthetic self-discipline and the Ethical Turn of art. By comparing the interventional art with the avant-garde art, it is found that the intervention art is different from the avant-garde art. The difference between the two is the difference in the treatment of aesthetic self-discipline. The difference reveals the first aesthetic connotation of the interventional art, that is, the negation of the aesthetic self-discipline. In addition, in the contemporary society of economic and cultural division, communication and identification, the interventional art works also play the role of promoting communication, enhancing the identity and rebuilding the role of the community. It means that the intervention art symbolizes the new trend of art in the context of globalization, that is, the Ethical Turn of art. In fact, the two aesthetic connotations of the interventional art also reveal the Aesthetic Turn of the interventional art from aesthetic art to the art of ethics.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J01
，
本文编号：2133550
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