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就历史发生学而言,装置、行为这两种艺术形态的艺术意义,源于作品中的媒材与观念互动构成的个别场景。美术馆展出作品时需要装置布展,因为作品同既定空间的场景关联的差异,必然带来观众的理解分殊;同样,艺术家为自己的行为表演设计的戏剧背景,要求观众在特定场景中领悟其行为的内涵。据此,在装置、行为艺术的创作中,艺术家如何挪用场景的问题,理应进入艺术爱者批评与实验的视域。本文以戴光郁近年实施的几件装置、行为作品为个案,侧重探讨艺术家在创作这类作品时挪用不同场景的艺术方式。
In terms of historical genesis, the artistic meaning of the two forms of art, installation and behavior stems from the individual scenes formed by the interaction of media and ideas in the works. Art galleries need installations to exhibit works because the differences between the works and the scenes in the established space inevitably lead to the difference in audience’s understanding. Similarly, the artist designs theatrical background for his or her performance and requires the audience to realize in a particular scene The connotation of its behavior. Accordingly, in the creation of installation and performance art, the artist’s question of how to divert scenes should enter the field of criticism and experiment of the art lover. In this paper, Dai Guangyu implemented several installations and behavior works in recent years as a case study, focusing on the artists in the creation of such works to divert different scenes of art.