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本土装置艺术已经解决了所谓形态学问题,余下的课题当是确立装置艺术生产的特有意识与方法。装置艺术的实验性就在于它提示出:艺术是没有本质的,或者它的本质是用材料的异化形式拼凑起来的。此点正是解构理论最为要紧之命题:反本质主义。严格地讲,装置·艺术,作为一合成词,在词源学上就是不成立的:装置诞生之初,即已宣告其反艺术、反收藏、反体制特征。解构意识与方法的注入、或装置生产所积淀的解构意识,不仅使得中国当代装置艺术有理可依、有凭可据,亦激活了装置艺术的反法则情结,遂将其实验性拉至崩裂几断处。
Local installation art has solved the so-called morphological problems, and the remaining issues should be to establish the unique consciousness and method of installation art production. The experimental aspect of installation art is that it suggests that art is not essential, or that its essence is pieced together in alienated forms of material. This point is the most important topic of deconstruction theory: anti-essentialism. Strictly speaking, installation and art, as a compound word, are not etymologically valid: the device was originally declared to have its anti-art, anti-collection and anti-institutional features. The injection of deconstruction consciousness and method, or the deconstruction consciousness accumulated by the device production, not only makes the contemporary Chinese installation art rational and reliable, but also based on the evidence, also activates the anti-law complex of the installation art, and then pulls it experimentally to crack several Off at.