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近几年我一直关注这样一类中国当代艺术实践,艺术家在社会现场工作,作品需要公众参与才能完成。作品的最终形式不是展览之物,而是被档案化的事件,或者可供使用的日常物品。我将这类艺术实践的特征称之为“其生”。“共生”指以某一特定地域为第一现场的艺术实践,其中,艺术家通过各种形式,与地域空间、物和人建立具体关系。“共生”反思艺术的生产方法,但不专注于讨论艺术生产、接受、展览、消费等具体体制问题。当代前卫艺术中反映出的“共生”观念,让我们看到艺术家再次将艺术植入社会生活的努力,为了达到这个目标,他们把艺术生产的空间从工作室移入具体的社会环境。现实主义者观察、理解和再现他人生活,他们相信作品中的
In recent years, I have been concerned about such a type of contemporary Chinese art practice, where artists work on social sites and works require public participation to complete. The final form of a work is not an exhibit, but an archived event or everyday item that can be used. I call this characteristic of artistic practice “life”. “Symbiosis” refers to the artistic practice of taking a particular area as the first scene, in which the artist establishes concrete relations with the regional space, objects and people through various forms. “Symbiotic ” reflect on the art of production methods, but do not focus on the discussion of the specific system of art production, acceptance, exhibitions, consumption and other issues. The concept of “symbiosis” reflected in contemporary avant-garde art shows us the artist’s efforts to implant art into social life once again. To achieve this goal, they have moved the space for artistic production from the studio to the concrete social environment. Realists observe, understand and reproduce the lives of others, and they believe in the work