一、关于题目 中国当代艺术研究文献展自1991年以来已历四届。第三届在上海举办时曾以“媒体的变革”为题,展出观念艺术特别是装置艺术的作品。本届展览题为“雕塑与当代文化”,显然有与之对峙的意思。雕塑和装置的关系,是当代艺术中值得研究的问题,因为这一问题涉及到雕塑在当代文化背景中出场的可能性。 雕塑的概念本来是十分清楚的,即它总是采用某种单纯的材料(如铜、石材、木料、不锈钢等等),经过有技艺性的加工手段(如刻削、塑造、焊接、浇铸等等),创造出有别于自然事物的作品。然而自杜桑之后,这一界说变得模糊起来,西方雕塑史从德加采用道具到杜桑使用现成品,逐渐变得开放,也逐渐变得难以描述。当然,杜桑的意义正在于此,他以亵读传统的方式反对样式主义,不期而然地辟开另一条道路,即以现成 I. About the Topic The exhibition of Chinese contemporary art research literature has been going on for four sessions since 1991. When the third session was held in Shanghai, the exhibition featured works of concept art, especially installation art, with the theme of “media revolution”. This exhibition entitled “Sculpture and Contemporary Culture” clearly has the meaning of confrontation with it. The relationship between sculptures and installations is a question deserved to be studied in contemporary art because the issue involves the possibility of sculptures playing in a contemporary cultural context. The concept of sculpture was inherently clear: it always uses a simple material (such as copper, stone, wood, stainless steel, etc.), through the art of processing tools (such as carving, shaping, welding, casting, etc. Etc.), to create a different from the natural things of the work. Since the time of Dusan, however, the purported to become blurred, the history of Western sculpture from Degas using props to Dussun’s use of ready-mades has gradually become more open and more difficult to describe. Of course, this is where Duchamp’s meaning lies. He objected to the style of doctrine in an obscene tradition, unexpectedly setting aside another path, that is,