现代性的张力—应天齐艺术实践个案分析

发布时间：2018-05-28 04:31

本文选题：现代性 + 应天齐　；参考：《四川美术学院》2017年硕士论文

【摘要】：现代性的体验从一定程度上说,就是对我们本身既定的许多观念,诸如理性、人文精神、科学、传统等等思维传统的进一步反思。所以我们看到,艺术家个体总是和时代发展相纠结,无论是牢牢捍卫过去的观点或是极力推陈出新,都是经验复杂性的体现。为了阐释的需要,本文主要针对当代艺术家应天齐三十年的艺术脉络为主要分析目标。试图通过针对应天齐个案的记述、梳理和分析,解读于再认识现代性历程下呈现的艺术文化形态及其深意。本文的主要内容,一是扼要梳理三十年来应天齐的艺术创作几大突破及其历史渊源,二是剖析艺术的观念、形式、方法的演变过程及其原因。与之相对应的研究范围,一方面是针对艺术家个人的艺术创作,另一方面是与应天齐创作产生联想和对比的艺术观念及美学形态,其中重要的是通过分析外在形式逻辑,去理解艺术家内在观念的价值所在。作为第一个受邀在威尼斯建筑双年展上举办个展的华人艺术家,应天齐其作品中透露出的不可捉摸性与游弋性,从某一个角度也折射出了中国当代艺术家们的许多共同特点:他既纠缠于过去,不能完全自拔,但也向往于大踏步的前进,所以在过去与未来之间,他现在身在何处,现在如何做都是一种不确定的和犹豫的摸索状态,这种状态恰恰说明中国现代主义的道路,从经历到呈现都是一个运动的过程。面对传统中国和现实中国、个人主义和集体权力,艺术家自身的摇摆和选择不可避免地呈现出一种现代性的姿态。而本文基本目的,是对于某些艺术现象进行以点带面的记叙,对其产生的成因、文化内涵及其存在的矛盾性予以分析。最终得出结论,无论是语言学还是语用学的转向,相当程度上都隐含着“现代性转向”这一概念。而最终艺术家的丰富性、复杂性、矛盾性恰恰组成了当代艺术现代性的张力。从中国的历史语境里边回溯中国当代艺术的发展,通过个案研究来探讨中国的艺术语言和思维状态,应天齐及其艺术创作的确提供给我们很多可被讨论的空间。
[Abstract]:The experience of modernity, to a certain extent, is a further reflection on our own established ideas, such as reason, humanism, science, tradition and so on. Therefore, we see that the individual artist is always entangled with the development of the times, whether it is firmly defend the views of the past or try to promote innovation, are the embodiment of the complexity of experience. In order to explain the need, this paper mainly aims at the artistic context of contemporary artist Ying Tianqi 30 years. This paper attempts to interpret the artistic and cultural forms and their meanings in the course of modernity through the description, combing and analysis of Ying Tianqi cases. The main contents of this paper are as follows: first, briefly combing several breakthroughs and historical origins of Ying Tianqi's artistic creation in the past 30 years; second, analyzing the evolution process and reasons of the concept, form and method of art. The corresponding research scope, on the one hand, is aimed at the artist's individual artistic creation, and on the other hand, it is the artistic concept and aesthetic form of associating and contrasting with Ying Tianqi's creation, in which the analysis of external formal logic is important. To understand the value of the artist's inner concept. As the first Chinese artist to be invited to hold a solo exhibition at the Venice Architecture Biennale, Ying Tianqi's works reveal the unpredictable and cruising nature of his work. From a certain angle, it also reflects many common features of Chinese contemporary artists: he is entangled in the past and can not completely extricate himself, but he also yearns for great strides forward, so between the past and the future, where is he now? How to do it now is an uncertain and hesitant state of groping. This state just shows that the road of Chinese modernism is a process of movement from experience to presentation. In the face of traditional China and real China, individualism and collective power, artists' own swing and choice inevitably present a modern attitude. The basic purpose of this paper is to record some artistic phenomena and analyze their causes, cultural connotations and contradictions. Finally, it is concluded that the concept of "modernity turn" is implied to some extent in the turn of linguistics and pragmatics. The richness, complexity and contradiction of the artist constitute the tension of the modernity of contemporary art. Looking back on the development of Chinese contemporary art from the historical context of China, Ying Tianqi and his artistic creation provide us with a lot of space for discussion through case studies to explore the language and thinking state of Chinese art.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J05

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