木马计—中国录像艺术的观念、实践与文化代理（1996-2006）
发布时间：2019-04-01 16:59
【摘要】：这篇论文探讨录像艺术在中国当代艺术的发展中如何以文化代理的身份发挥特殊的作用。在二十世纪90年代,官方和地下(非官方)的先锋艺术之间有很大的差距。于是,录像艺术充当了两个系统之间的一座开放的桥梁。由于录像艺术涉及到新的技术,并不带有浓厚的意识形态色彩,所以相对于装置与行为艺术,更可能为当局接受。本论文的目的是研究录像艺术在中国如何发展,制度的变迁,以及中国录像艺术中的审美理论。我的关注区域限定于1996年至2006年这段时段。它是中国录像艺术的黄金时代,是录像艺术向新媒体艺术转变的关键时期,也是中国高等美术教育的转折点。作为外来的概念,我会先介绍“录像艺术”的由来,它的不同定义、技术影响等历史状貌。接着我详细考察了录像艺术如何被引入中国,如何在中国的三个平行的艺术世界(传统文人美学、社会主义传统以及全球性的当代艺术)背景下,得到全方位发展。在它进入高等美术教育系统时,我强调了它的独特作用,并通过个案研究,分析代表艺术家如何通过实验让这种变化成为可能。参照中国和国际艺术资讯,我最后以比较的方式,概述了中国录像艺术的共性和个性。本论文所采用的“文化代理”(cultural agency)概念,意思是说不同程度的贡献都能对社会的发展产生影响。中国经过多年的“改革开放”,已经有一批录像艺术家采取各种策略来改善当地的文化条件,凭借艺术制作与展示,推动社会的进步。
[Abstract]:This paper discusses how video art plays a special role as a cultural agent in the development of Chinese contemporary art. In the 1990s there was a wide gap between official and underground (unofficial) avant-garde art. Thus, video art serves as an open bridge between the two systems. Video art is more likely to be accepted by the authorities than installation and behavioural art because it involves new technologies and does not have a strong ideological color. The purpose of this paper is to study the development of video art in China, the institutional changes, and the aesthetic theory of video art in China. My area of concern is limited to the period from 1996 to 2006. It is the golden age of Chinese video art, the key period of the transition from video art to new media art, and the turning point of Chinese higher art education. As a foreign concept, I will first introduce the origin of video art, its different definitions, technical influence and other historical features. Then I examined in detail how video art was introduced into China and how it developed in all directions under the background of China's three parallel artistic worlds (traditional literati aesthetics socialist tradition and global contemporary art). As it enters the higher art education system, I emphasize its unique role and, through case studies, analyze how representative artists make this change possible through experiments. Referring to Chinese and international art information, I finally summarize the commonness and individuality of Chinese video art in a comparative way. The concept of "cultural agent" (cultural agency) adopted in this paper means that different levels of contribution can affect the development of society. After many years of reform and opening up, a number of video artists have adopted various strategies to improve local cultural conditions and promote social progress by means of artistic production and display.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J5
，
本文编号：2451718
[Abstract]:This paper discusses how video art plays a special role as a cultural agent in the development of Chinese contemporary art. In the 1990s there was a wide gap between official and underground (unofficial) avant-garde art. Thus, video art serves as an open bridge between the two systems. Video art is more likely to be accepted by the authorities than installation and behavioural art because it involves new technologies and does not have a strong ideological color. The purpose of this paper is to study the development of video art in China, the institutional changes, and the aesthetic theory of video art in China. My area of concern is limited to the period from 1996 to 2006. It is the golden age of Chinese video art, the key period of the transition from video art to new media art, and the turning point of Chinese higher art education. As a foreign concept, I will first introduce the origin of video art, its different definitions, technical influence and other historical features. Then I examined in detail how video art was introduced into China and how it developed in all directions under the background of China's three parallel artistic worlds (traditional literati aesthetics socialist tradition and global contemporary art). As it enters the higher art education system, I emphasize its unique role and, through case studies, analyze how representative artists make this change possible through experiments. Referring to Chinese and international art information, I finally summarize the commonness and individuality of Chinese video art in a comparative way. The concept of "cultural agent" (cultural agency) adopted in this paper means that different levels of contribution can affect the development of society. After many years of reform and opening up, a number of video artists have adopted various strategies to improve local cultural conditions and promote social progress by means of artistic production and display.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J5
，
本文编号：2451718
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