艺术对文字的运用和滥用——论“八五新潮”中的“汉字”艺术

发布时间：2018-05-13 06:15

本文选题：谷文达 + 书写错误　；参考：《文艺研究》2016年05期

【摘要】：本文讨论"八五新潮"中三位重要的艺术家谷文达、吴山专和徐冰对汉字的运用。这也是"八五新潮"中最有影响的潮流之一。谷文达发明了各种各样的文字游戏和书写错误。他将汉字书写看做是一种文化惯例,而他发明出来的书写错误就是对各种文化惯例所进行的批判和质疑。吴山专则将那个年代墙上的书写标语用大字报的形式进行装裱,从而将文字变成了一种具有波普特色的拼贴画。在此,大字报和墙上的文字编织在一起并各自改变了对方,它变成了一个新的创造品,一个特殊的专有之物:是装置、是绘画、是书法、是文本——是这所有的混乱综合。而徐冰则发明了各种伪汉字,并以一种巨大的耐心和严谨将它们制作成一本无法阅读的"书",这是一种全新的关于"书"的写作,它一方面瓦解了汉字的神话,另一方面瓦解了书的神话。而在这瓦解的同时,艺术家却认真地建构起自己的生活。
[Abstract]:This paper discusses the use of Chinese characters by three important artists, Gu Wenda, Wu Shan College and Xu Bing. This is also one of the most influential trends in the eighth five-year Plan. Guvinda invented all kinds of word games and writing errors. He regards the writing of Chinese characters as a kind of cultural convention, and his writing error is criticizing and questioning all kinds of cultural practices. Wu Shan used large-character posters to frame writing slogans on the walls of that era, thus turning the text into a Pop-style collage. Here, the poster and the text on the wall weave together and change each other, it becomes a new creation, a special proprietary thing: it's a device, it's painting, it's calligraphy, it's text-it's all this confusion. Xu Bing, on the other hand, invented all kinds of pseudo-Chinese characters and made them into an unreadable "book" with great patience and rigor, which is a completely new writing about "book", which on the one hand disintegrates the myth of Chinese characters. On the other hand, the myth of the book was disintegrated. At the same time, the artist seriously constructed his own life.
【作者单位】：首都师范大学文学院;
【基金】：北京市哲学社会科学规划项目重点项目“1980年以来的北京当代艺术研究”(批准号:13WYA004) 首都师范大学文化研究院一般研究项目“北京:艺术之都——1980年代以来”(批准号:ICS2013-B-02)成果
【分类号】：J05

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