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中国当代艺术生产中出现兼具艺术创作和艺术中介性质的新艺术实践。这一现象与全球化背景下民族身份在文化交流中被建构的特征有极大关系。以“长征计划”艺术项目和“长征空间”画廊交织在一起进行当代艺术创作和运作为例,民族身份建构过程凸显出三个理论焦点:首先,从当代艺术的文化视域见出从艺术创作到艺术生产理论讨论范围的转向;其次,通过把当下文化生活与中国革命史并置来建构当代艺术中的民族身份,这种对社会发展史进行反思的宏观视野为原本西方语境下的当代艺术史所缺乏;第三,民族身份建构过程中弱势文化身份的转化反映出文化交流的现实性和幻象性双重性质。对这三方面的反思结论是尽管这一交流过程以文化妥协为前提,但它带来平等交流的希望,具备文化对话价值。
In the production of Chinese contemporary art, the emergence of a new art practice combining the artistic creation with the artistic intermediary. This phenomenon has a great relation with the characteristics of national identity in the cultural exchange under the background of globalization. Take the “Long March Project” art project and the “Long March Space” gallery as an example to illustrate the contemporary art creation and operation. The process of national identity construction highlights three theoretical focuses: First, from the cultural perspective of contemporary art Second, through the current cultural life and the convolution of Chinese revolutionary history to build the national identity of contemporary art, this macro-perspective of the history of social development to reflect the original Western language The lack of contemporary art history in the territory; Third, the transformation of the disadvantaged cultural identity in the construction of national identity reflects the dual nature of cultural exchange between reality and illusion. The reflection on these three aspects is that while this exchange process is premised on cultural compromise, it brings the hope of equal exchange and the value of cultural dialogue.