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作为当代边缘性艺术的装置艺术发轫于西方,实属介于雕塑与绘画之间而又明显地区别于装饰小品的一种几乎说不清道不明的艺术格式。其大手笔者如克里斯多夫对德国巍峨壮观的柏林国会大厦的包装,振聋发聩者如北京艺术博物馆内当年硕大直立的“安全套”难以理喻的造型。诸如此类曲折地映射出当代物质与文明相冲击,显现了与晦涩相交织的奇思妙想的装置物,既流露出各类艺术家在现实世界中的“苦闷”的理性思考,也顺理成章地提出装置艺术在当代艺术领域内应当占有何种地位,欣赏和领悟其丰富内涵的切入点在什么地方,如何把握住该类艺术中似乎只可意会不
As an art of contemporary marginalized art, it is a kind of almost indescribable art form which is obviously different from the decorative piece in the West. Its generous people such as Christoph to Germany’s majestic towering Berlin Parliament House packaging, deaf children such as the Beijing Art Museum in that year huge erect “condoms” incomprehensible shape. Such twists and turns reflect the impact of contemporary material and civilization, showing the whimsical intertwined whimsy device, both to show all kinds of artists in the real world “boredom” rational thinking, but also logical to put forward the device What position should art occupy in the field of contemporary art? Where is the starting point for appreciating and comprehending its rich connotation?