从私密情感到公共话语—尹秀珍个案研究

发布时间：2018-08-15 13:13

【摘要】：本文选取生于1963年的中国当代艺术家尹秀珍作为艺术家个案研究对象。尹秀珍的艺术创作从1994年开始,形式以现成品的装置艺术为主,少数作品结合行为、影像、照片等手段,创作脉络连贯,一直持续至今,而且,不同时期都有代表性的作品。尹秀珍的艺术创作不仅有鲜明的个人特点,蕴藏着浓郁的个人体验,同时在一定程度上映射出社会生存者的共同境遇,涉及到诸多公共话语,抑或是“中国经验”。这些公共话语与改革开放以来,中国社会的转型,以及独特的文化境遇是密切联系的。不过,目前国内对尹秀珍的研究成果并不多,也不太深入,甚至有的研究存在着将艺术家的创作“标签化”的危险。本文基于大量的一手资料,并结合艺术家的个人创作札记,大量的访谈、批评家的对话等,梳理、分析艺术家在创作主题上的变化、对媒介的运用以及创作观念的发展路径,从而对艺术家至今的艺术创作进行分类,展示艺术家独特的艺术理念和创作智慧,并对每个阶段的典型性作品进行阐释。同时将艺术家的创作融入到中国当代艺术的发展谱系中,力图讨论尹秀珍在方法与艺术观念做出的贡献。事实上,在尹秀珍的艺术中,自我与社会,个人与集体,记忆与现实,历史与变迁始终是密不可分的。然而,对上述问题的思考,始终以艺术家非常个人化的手法表现出来,抑或说成为艺术家个人叙述的重要来源。因此笔者将其从1994年至今的艺术创作分大致为三个阶段。第一个阶段是从1994年至1996年,这一时期的作品具有浓郁的现代主义视角,大多是对个体存在,及其文化身份的追问,在表达上,十分重视私密化的情感体验,代表作品有《衣箱》、《泥鞋》等。第二个阶段是从1997至2000年,面对社会的转型与都市化进程的高速发展,艺术家十分强调周遭的社会现实与存在境遇,以批判性的眼光,思考个人与集体、社会与历史,尤其是个人的生存状态的问题。从文化诉求上,许多作品都涉及到公共话语—“中国”,代表作品有《平安大街》、《北京》和《行李箱》等。第三个阶段是正在发展的阶段,从2001年至今,这一阶段,尹秀珍不仅是国内也是国际上有影响的当代艺术家。国际旅行、跨国参加艺术展览与艺术项目已经是艺术家的生活常态,同时正是由于艺术家本人的切身经历,得以使她以国际视野和角度对自己和所处的环境进行观察、反思,此阶段的创作被归为第三阶段:国际话语—公共话语的放大,代表作品有:《可携带的城市》系列、《时尚恐怖主义》系列等。在这二十余年的创作中,尹秀珍不仅将创作的主题由对自我个体的关注与思考,延伸至对中国社会的剧变以及所夹带的个人与集体、历史与变迁的问题,文化的游牧,及其跨文化的视角,使其更关注全球化语境中所面对的生存困境。无论是从私密情感阶段使用的艺术家本人的旧衣服和木质的手提箱,到之后公共话语阶段出现的不同陌生人的旧衣服和带轮子的拉杆箱,实质在隐喻着个人和集体的历史与变化,传统的历史与国际语境的变化。而这也正是当代人在全球化语境中的一种宿命:走出狭域生存,进入广域生存。正如所说Philippe Vergne(菲利普·维赫涅):尹秀珍让自己独立于主流美学模式及分布网络之外,但对于形式问题,她并没有采取一种二元论式的对立姿态,她并不是要探索重新发明形式语言的可能,而是选择把既有语言当做现成的工具进行曲解和转译。她的实践在我们称之为“做有政治性的艺术”与“以政治手法做艺术”之间的狭小空隙里展开。[1]本文以符号学、心理分析、文献学和社会学相结合的研究方法挖掘其艺术作品中的创作理念,通过对其各个时期代表性作品的阐释,并结合当时的社会与文化语境,力图较为全面的展现尹秀珍的创作轨迹与艺术智慧,希望将其作品放入中国当代艺术的上下文中予以审视,提供一个真实、饱满、丰富、生动的艺术个案。
[Abstract]:Yin Xiuzhen, a contemporary Chinese artist born in 1963, is selected as the research object of this paper. Since 1994, Yin Xiuzhen's artistic creation has been based on the ready-made installation art, and a few works have been combined with behavior, images, photographs and other means to create a coherent context, which has lasted to this day. Moreover, representative works in different periods have been created. Pin. Yin Xiuzhen's artistic creation not only has distinct personal characteristics and rich personal experience, but also reflects to a certain extent the common situation of social survivors, involving many public discourses, or "Chinese experience". These public discourses and the transformation of Chinese society since the reform and opening up, as well as the unique cultural situation. However, at present, there is not much research on Yin Xiuzhen in China, and there is even a danger of labeling artists'works. This paper combs and analyzes artists based on a large number of first-hand information, combined with the artists' personal notes, a large number of interviews, Critics'dialogues and so on. The changes in creative themes, the use of media and the development of creative concepts, so as to classify the artists'artistic creation so far, show the artists' unique artistic concepts and creative wisdom, and interpret the typical works of each stage. In fact, in Yin Xiuzhen's art, self and society, individual and collective, memory and reality, history and change have always been inseparable. Nevertheless, the thinking on these issues has always been expressed in an artist's very personal way, or has become an art. The first stage is from 1994 to 1996. The works of this period have a strong modernist perspective. Most of them are the questioning of individual existence and its cultural identity. In terms of expression, they attach great importance to the emotional style of privatization. In the second stage, from 1997 to 2000, facing the rapid development of social transformation and urbanization, the artist emphasized the social reality and the existing situation around him, thinking critically about the individual and the collective, the society and history, especially the living conditions of the individual. The third stage is the developing stage. From 2001 to the present, Yin Xiuzhen is not only an influential contemporary artist at home but also at home and abroad. Art projects have become the norm of the artist's life, and it is precisely because of the artist's own personal experience that she can observe and reflect on herself and her surroundings from an international perspective. The creation of this stage is classified as the third stage: the amplification of international discourse - public discourse, which represents the works of the "Portable Cities" series. In the past twenty years, Yin Xiuzhen has not only extended her creative themes from her concern and Reflection on her own individual to the dramatic changes in Chinese society, as well as the individual and collective, the problems of history and change, the nomadic culture, and the cross-cultural perspective, making her pay more attention to the aspects in the context of globalization. From the old clothes and wooden suitcases of the artist himself used in the stage of intimacy to the old clothes and pull-wheeled suitcases of different strangers appearing in the stage of public discourse afterwards, the essence of the dilemma is a metaphor for the history and change of individuals and groups, the change of traditional history and international context. As Philippe Vergne said, Yin Xiuzhen made herself independent from the mainstream aesthetic model and the distribution network, but she did not take a dualistic antagonistic attitude toward the issue of form, and she was not trying to explore it. The possibility of reinventing formal language is to distort and translate the existing language as a ready-made tool. Her practice unfolds in the narrow gap between what we call "political art" and "political art". [1] This paper is a study combining semiotics, psychoanalysis, philology and sociology. The research method excavates the creation idea in his artistic work, through the explanation of his representative works in each period, and combining with the social and cultural context at that time, tries hard to show Yin Xiuzhen's creation track and artistic wisdom more comprehensively, hopes to put his works into the context of Chinese contemporary art to examine and provide a true and full. Full, rich and vivid art cases.
【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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