当代艺术对于媒介乃至语境的开放性,先天使自身具备了更多的形式可能,而它的社会面向也在这种交织中被不断推至新的极限。正是不同的艺术家及他们的不同创作,不断拓展着艺术这张大网的边缘、修改着其与社会的联结点。在当代问题下,艺术与社会生活的分野愈发模糊,艺术家也早已更加积极于直接以身体为第一媒材而投身其中,加入远比“人(创作者)-物(供观看的二、三维作品)-人(观众)”这样的联结来得复杂和多样的主体关系网。这样一来,单纯以艺术家行为、行动所指的议题范畴来观看和评价他们的创作,就显得捉襟见肘。在中国、乃至整个华语艺术创作世界,创作者对自身主体性的意识,也经历了一个网状拓展过程,不再局限于对政治、体制、社会现实等明确的针刺式阐释和表达,而是更加细致地进入贴近自我与现实之间互动关系的诸多层面,并且(尽管还是很有限地)去重组这种种互动关系。对互动关系的挑战和重组,往往从一个或一系列相关的针对性行动人手,其表演性与真实性早已融为一体,但它们之间的微妙关系仍旧值得细究。十多年前,杨志超就在两件代表作中由“扮演”他者身 Contemporary art for the media and even the context of openness, the angels have their own more possibilities, and its social orientation is also in this intertwined has been pushed to a new limit. It is precisely the different artists and their different creations that are constantly expanding the edge of this big net of art and amending its connection with society. Under contemporary problems, the dividing line between art and social life has become increasingly vague. Artists have also become much more active in engaging directly with the body as the most important media and have joined the ranks of people (creators) , Three-dimensional works) - people (audience) “Such a link to complex and diverse subject network. As a result, simply viewing and evaluating their creations simply in terms of the artist’s actions and the scope of the actions referred to is overwhelming. In China and throughout the world of Chinese art creation, the creators’ awareness of their own subjectivity has also undergone a process of reticulation expansion that is no longer confined to explicit acupuncture-style interpretations and expressions of politics, institutions, and social reality Is to go more closely into many dimensions close to the interaction between self and reality and (albeit still very limitedly) to restructure this kind of interaction. Challenges and reorganizations of interactive relationships, often from one or a series of related targeted actors, have long been integrated in their performance and authenticity, but the delicate relationship between them is still worth studying carefully. More than a decade ago, Yang Zhichao played the role of ”the other" in two masterpieces