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艺术作品之所以成为艺术机制所认定的艺术作品,具有一些显见的特征,而这些特征在欧美现代主义传统下已经失去许多。事实上,早在现代主义之初就已证实,艺术作品与非艺术的物体之间,无论从材料还是现象的角度看,都并没有什么特征或特点。艺术作品与日常物体,在边界个案中,例如杜尚的作品,对于观看者而言,几乎是一样的。这样的作品说明现代艺术本质上便是葛冷(Arnold Gehlen)所说的是需要标注的(kommentarbedürfig)艺术,即是说,要想将一件物体指认为一件艺术品,背景信息是必不可少的。本文认为不仅现代艺术,而是所有艺术都本质上要求标注。标注凸显作品的历史身份,而决定该身份的条件则不仅是视觉的,也有非视觉的因素,例如作品的创作时间地点、创作者的意图、作品创作时艺术界的重要话语等。可以说,作品的那个历史身份在很大程度上决定了我们可能划归给作品的美学概念,而我们阐释和标注的也正是作品的这一身份。
The reason why a work of art becomes a work of art recognized by the art mechanism is that it has some obvious features that have lost much of its tradition under the modernist tradition of Europe and the United States. In fact, as early as modernism, it has been proven that there is no characteristic or characteristic between works of art and non-art objects, both in material and in phenomena. Works of art and everyday objects, in border cases, such as Duchamp’s work, are almost the same for viewers. Such works illustrate that modern art is essentially the art of “kommentarbedürfig” by Arnold Gehlen. In other words, in order to identify an object as a work of art, background information is inevitable Less. This article argues that not only modern art, but all arts are essentially required to label. Labeling highlights the historical identity of a work, and the conditions that determine the identity are not only visual but also non-visual factors such as the time and place of creation of the work, the intent of the creator, and the important discourse of the art world at the time of writing. It can be said that the historical identity of a work largely determines the aesthetic concepts that we may assign to a work, and it is precisely this identity of work that we interpret and label.