景观社会的图像与绘画20世纪90年代以来的欧洲绘画研究

发布时间：2018-06-21 19:33

  本文选题：景观社会 + 图像　； 参考：《清华大学》2016年博士论文

【摘要】：当下,图像成为了我们生活的重要组成部分,它不再仅是对现实生活的反映,而是带来了人类视觉方式的深刻变革。这些图像日益扩展并渗入到我们生活的各各领域,人们被越来越密集的图像包围:照片、广告、电影、电视、电脑、手机、互联网等。这些静态或动态的图像构成了我们今日的生活景观,促使我们的文化发生了剧烈的转型,即由语言为中心的印刷文化逐渐向以图像为中心的视觉文化的转变。这一转变从根本上动摇了千百年来绘画赖以存在和发展的根基。当代绘画已经从传统的再现性、叙事性、表现性、象征性的功能,转变为对社会文化的反思与批判。谈到当代绘画的批判性与观念化,本文将研究背景定义在“景观社会”的议题中,《景观社会》是法国著名思想家居伊·德波的代表作,该书于1967年出版并产生广泛影响。德波将批判的矛头最早指向了被影像异化了的大众生活,他的理论在今天仍具启示意义。“景观社会”的提出正直后现代艺术向当代艺术过度的阶段,各种思潮此起彼伏,激浪派、偶发艺术、行为艺术、贫穷艺术等团体涌现,他们强调艺术作品展现的是艺术的态度,而不是某种风格,以此表达他们冲破禁忌的诉求。当代艺术由此拉开帷幕。本文以20世纪90年代以来的十位欧洲艺术家的作品为研究对象。他们大多出生在20世纪60年代后,成长于“景观社会”之中,他们试图摆脱图像对人类的操控,并尝试运用绘画自身语言进行言说,创作出图像时代“另类”的图像。这些绘画真实地记录了一个身处图像世界的生命体对“景观”的反思与批判。当代绘画与现代绘画最大的区别正在于它的观念性。艺术家将“态度”转变为新的绘画形式,更深刻地抵达了图片背后的真实。他们重新反思历史,传统文化及当下的现实语境,将图像和不同形式风格重新组合在新的结构中,从根本上切断了被挪用图像的原初语境,使其具备新的意义。在观念化及问题意识的基础上,艺术家的眼与心与物融合,画面中的笔触与线条发生由内而外的改变,这种绘画的语言形式真正超越的现代艺术的形式主义局限,具备了时代的文化内质。在研究过程中,笔者试图找寻图像流变的历史根源,并展望绘画的未来发展,从我们对当代艺术现象的观看与评判中,反思“景观社会”中人类的生存境遇,力图使我们面对图像与当代艺术时所持的态度更加理性和从容。
[Abstract]:At present, image has become an important part of our life. It is not only a reflection of real life, but also a profound change in human visual style. These images are expanding and infiltrating into every field of our life, and people are surrounded by more and more dense images: photos, advertisements, movies, television, computers, mobile phones, the Internet and so on. These static or dynamic images constitute the landscape of our life today, and promote the drastic transformation of our culture, that is, the transformation from the language-centered printing culture to the image-centered visual culture. This change has shaken the foundation of the existence and development of painting for thousands of years. Contemporary painting has changed from its traditional functions of reproduction, narrative, expressiveness and symbolism to reflection and criticism of social culture. On the criticism and conceptualization of contemporary painting, this paper defines the research background in the topic of "landscape society". Landscape Society is the masterpiece of the famous French thinker Guy de Bo, which was published in 1967 and has a wide influence. De Bo first pointed the criticism at the alienated public life, and his theory is still enlightening today. "Landscape Society" put forward the stage of the transition from the upright post-modern art to the contemporary art. Various trends of thought have sprung up one after another, the surge school, the occasional art, the performance art, the poor art, and so on. They express their desire to break through taboos by emphasizing that art shows an artistic attitude rather than a style. Contemporary art starts from this. This paper focuses on the works of ten European artists since the 1990 s. Most of them were born in the 1960s and grew up in "landscape society". They try to get rid of the manipulation of images to human beings, and try to use their own language to speak, to create "alternative" images of the image age. These paintings truly record the reflection and criticism of the landscape by a living body in the image world. The biggest difference between contemporary painting and modern painting lies in its concept. The artist transforms attitude into a new form of painting, reaching deeper into the truth behind the picture. They rethink history, traditional culture and the present realistic context, recombine images and different styles in the new structure, fundamentally cut off the original context of the misappropriated image and make it have new meaning. On the basis of conceptualization and problem consciousness, the artist's eyes and heart are merged with things, the strokes and lines in the picture change from inside to outside, and the formalism limitation of modern art that the language form of this painting really surmounts. It has the cultural essence of the times. In the course of the research, the author tries to find out the historical root of image evolution, and looks forward to the future development of painting. From the view and evaluation of contemporary art phenomenon, the author reflects on the living conditions of human beings in "landscape society". Try to make us face the image and contemporary art attitude more rational and calm.
【学位授予单位】：清华大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J205
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本文编号：2049771