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从90年代以来,邱志杰就对艺术创作的形式问题保持着持续发问。在90年代,艺术家对艺术媒介普遍存在创作焦虑感的背景下,他批判了本土语境中观念艺术的存在状态,也质疑了从图像到意义的阐释方法。这种发问方式,同样辐射到他对行为艺术的思考中。这并不仅仅因为他曾经创作了包括《重写一千遍<兰亭序>》在内的大量行为作品,实际上,从对观念艺术的反动开始,邱志杰一直在试图实践一种以现场为基点的艺术形式,以求超越传统的行为或表演被艺术媒介、个人神话和艺术系统所局限的状态。这个访谈节选粗略地描述了邱志杰个人思考和实践中这条线索的演变。同时,问题也随之而来:邱志杰所做出的这些努力,一直带着让艺术连接到他者的期望——但值
Since the 1990s, Qiu Zhijie has kept on asking questions about the form of artistic creation. In the 1990s, under the background of widespread anxiety of creation in the art media, the artist criticized the existing state of concept art in the local context and questioned the method of interpretation from image to meaning. This way of asking questions is also radiated into his thinking of performance art. This is not just because he has produced a large number of works of art that include “rewriting a thousand times”. In fact, starting from the reactionary reaction to concept art, Qiu Zhijie has been trying to implement a site-based approach Art form in order to go beyond the traditional behavior or performance of the state of the art media, personal mythology and the limitations of the arts system. This interview excerpt roughly describes the evolution of Qiu Zhijie’s personal thinking and practice of this clue. At the same time, the problem ensues: These efforts by Qiu Zhijie, always with the expectation that art should be connected to the others - but the value