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近三十年来,中国的政治、经济、文化等的全方位改革与深度体制转型,推动了公共艺术及其文化观念在中国城市的出场及其长足发展。但与西方成熟的公共艺术理念和完善的生产机制相比,新世纪中国公共艺术在政治、资本、观念等三重权力话语的重压之下,或难以与公共空间建立有效的情境性关系,或无法寻找到与城市文化相契合的理想路径,致使其“公共性”本体时常缺席。中国的公共艺术建设势必是一项长期复杂的系统性工程,其落脚点并非是艺术本身,而是借此来改造广大民众的固有艺术观念与日常生活方式,培养其公民观念与主体意识,最终指向一个开放、自由、和谐和民主的公民社会。
In the recent three decades, the all-dimensional political, economic and cultural reforms in China and the in-depth institutional transformation have promoted the appearance and rapid development of public art and its cultural concepts in Chinese cities. However, compared with the mature public art concept and perfect production mechanism in the West, under the pressure of the triple power discourse such as politics, capital and concept, Chinese public art in the new century can hardly establish an effective situational relationship with public space or Can not find the ideal path which fits with the urban culture, and causes its “publicity ” body to be absent from time to time. China’s public art construction will inevitably be a long-term and complex systematic project. Its purpose is not to fix the art itself, but to transform the inherent artistic concepts and daily life style of the general public and cultivate their civic concepts and subjective consciousness. Finally, Point to an open, free, harmonious and democratic civil society.