从“现成品”到“社会雕塑”——博伊于斯以人智学为基础的艺术观

发布时间：2018-05-04 21:52

本文选题：博伊于斯 + 现成品　；参考：《世界美术》2013年02期

【摘要】：约瑟夫·博伊于斯(Joseph Beuys,1921-1986),20世纪最具创造力和颠覆性的艺术家,以其制造的众多个人神话和艺术神话成为最令人费解的艺术家之一。有人称他为萨满教的巫师、先知,从宗教神秘主义或幻象启示的角度解释其作品;有人称他是狂妄自大的极端个人主义者,将他的个人经验神话化,用以说明他对主题和材料的选择。而实际上,博伊于斯是人智学的伟大实践者:一方面,他将"思"作为最本质、最原初的创造性力量,通过思考人将获得最大限度的自由,从而改善自然与社会;另一方面,他泛化了传统的艺术观念,提出"扩展的艺术观念"和"社会雕塑",将存在之事物、语言、行为、活动纳入艺术名下以"塑造"社会。博伊于斯的艺术活动包括有形的"可见艺术"和无形"不可见艺术",任何单向地考察都是片面的,本文从博伊于斯对杜尚"现成品"概念的背离入手,通过考察人智学认识论来分析博伊于斯的艺术观,及其理论核心"社会雕塑"之要义。
[Abstract]:Joseph Bhoi was the most creative and subversive artist in the 20th century from 1921 to 1986. He became one of the most puzzling artists for his numerous personal myths and artistic myths. Some call him a shamanistic sorcerer, a prophet, who interprets his work in terms of religious mysticism or illusions; others call him a conceited, extreme individualist, mythology of his personal experience, Used to illustrate his choice of themes and materials. In fact, Bhoi Yu is a great practitioner of human intelligence: on the one hand, he regards "thought" as the most essential, the most original creative force, by thinking that man will obtain maximum freedom, thereby improving nature and society; on the other hand, He generalized the traditional artistic concept, put forward the "extended artistic concept" and "social sculpture", put the existence of things, language, behavior and activities into the name of art to "shape" the society. Bhoi's artistic activities include tangible "visible art" and invisible "invisible art". Any one-way investigation is one-sided. This paper begins with Bhoi's deviation from Duchamp's concept of "present finished product". By examining the epistemology of human intelligence, this paper analyzes Bhoi's view of art and the essentials of the core of his theory, Social Sculpture.
【作者单位】：北方工业大学艺术学院;
【分类号】：J01

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