艺术的袪魅与复魅——“艺术终结”之后对艺术概念的重构

• 作 者: 曾瑶
• 机 构: 四川大学文学与新闻学院,
• 出 处: 作家
• 发表日期: 2009年12期
• 关键词: 先锋派 复魅 袪魅 接受者 机械复制时代 杜尚 后现代社会 多元主义 本雅明 体制化

20世纪初以来的先锋派运动极大地冲击了传统的艺术观念,然而先锋派在宣告了传统艺术观念终结的同时,其悖论也导致了它自身的终结。在当下的新语境中,多元主义的时代已经来临,关于艺术的问题有待重新思考。本文试图从单个的艺术品的角度,强调接受者与作为个体存在的艺术品的交流与对话,在“艺术终结”之后对艺术概念进行重构。

The avant-garde movement since the early 20th century has greatly influenced the traditional concept of the arts. However, while the avant-garde proclaimed the end of the traditional concept of art, its paradox also led to its own end. In the present new context, the era of pluralism has come and the issue of art needs to be rethought. This article attempts to emphasize the exchange and dialogue between the recipient and the artwork that exists as an individual from the standpoint of a single artwork, and reconstruct the concept of art after the “end of art”.