艺术与标注:论视觉艺术的可视性与标注的关系（英文）

发布时间：2018-06-22 23:46

本文选题：艺术作品 + 美学特征　；参考：《文艺理论研究》2015年04期

【摘要】：艺术作品之所以成为艺术机制所认定的艺术作品,具有一些显见的特征,而这些特征在欧美现代主义传统下已经失去许多。事实上,早在现代主义之初就已证实,艺术作品与非艺术的物体之间,无论从材料还是现象的角度看,都并没有什么特征或特点。艺术作品与日常物体,在边界个案中,例如杜尚的作品,对于观看者而言,几乎是一样的。这样的作品说明现代艺术本质上便是葛冷(Arnold Gehlen)所说的是需要标注的(kommentarbedürfig)艺术,即是说,要想将一件物体指认为一件艺术品,背景信息是必不可少的。本文认为不仅现代艺术,而是所有艺术都本质上要求标注。标注凸显作品的历史身份,而决定该身份的条件则不仅是视觉的,也有非视觉的因素,例如作品的创作时间地点、创作者的意图、作品创作时艺术界的重要话语等。可以说,作品的那个历史身份在很大程度上决定了我们可能划归给作品的美学概念,而我们阐释和标注的也正是作品的这一身份。
[Abstract]:The reason why art works are recognized by art mechanism has some obvious characteristics, which have lost a lot in the tradition of European and American modernism. In fact, as early as the beginning of modernism, art works and non-artistic objects, no matter from the point of view of material or phenomenon, there are no characteristics or characteristics. Works of art are almost identical to everyday objects, such as Duchamp's works, in border cases. Such works show that modern art is essentially Arnold Gehlen's kommentarbed 眉 rfig art, meaning that background information is essential to designating an object as an artwork. This paper argues that not only modern art, but all art is essentially required to mark. Annotating the historical identity of the work, and the conditions that determine the identity are not only visual, but also non-visual factors, such as the time and place of the creation of the work, the intention of the creator, the important words of the artistic circle when the work is created. It can be said that the historical identity of the work determines to a great extent the aesthetic concept that we may attribute to the work, and it is this identity that we interpret and mark.
【作者单位】：德国卡塞尔大学艺术与设计学院;国际维特根斯坦协会;
【分类号】：J01

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