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作为概念的“公共艺术”大约在上世纪90年代进入中国大陆。进而,伴随商业化和市场化进程加速,中国大陆的都市化建设进入一个突飞猛进的时期。与此相应,随着都市广场、大型居民社区、大型城市综合体和休闲娱乐等文化场所的大规模建设,“公共艺术”第一次在中国迎来了发展的高峰期。大量城市公共艺术作品的出现,使得“公共艺术”不仅在概念上,更在实践中为人们所熟悉。公共艺术的爆发式崛起在让艺术家和理论家感到震惊的同时,更多的带来了对于“公共艺术”的反思。从目前当代中国的公共艺术实践看,大量的“伪”公
As a concept of “public art” about 90 years in the last century into mainland China. Furthermore, with the acceleration of commercialization and marketization, the urbanization in mainland China has entered a period of rapid growth. Correspondingly, with the large-scale construction of cultural venues such as urban squares, large-scale residential communities, large-scale urban complexes and leisure and entertainment, the “public art” has for the first time ushered in the peak of development in China. The emergence of a large number of urban public works of art makes “public art” not only conceptually but also more familiar to people in practice. While the explosive rise of public art has shocked artists and theorists, it has brought more introspection about “public art ”. From the contemporary practice of public art in contemporary China, a large number of “pseudo” public