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当我们在现代化的思维观念中行进的时候,具有争议性的人物与事件总具有夺人眼球与创造历史的地位。当我们每次被他们的“创举”惊讶的目瞪口呆之时,我们知道,他们的颠覆简直是重磅炸弹,彻底在摧毁着既有的回忆与历史。艺术自进入现代主义时期以来,创新、颠覆成为其存在价值灵魂,也正因如此,艺术在黑格尔的哲学中才拥有了“精神”这一形而上的终极价值,使其脱离了简单的技艺而带有哲学的反思内容。在求新、求变的历程中,“坏艺术”充当了变革的导火索,一次又一次牵引着历史的车轮行至今日。从英国的达明·赫斯特,到日本的草间弥生、荒木经惟;从《水晶头骨》到布满世界的原点,艺术的边界经常在“坏艺术”的氛围中有所推进和改变,此时,“反思”成为必要的步骤,“选择”注定是下一步行动必备的理由。
As we move forward in the modern notion of thinking, controversial characters and events always have the eye-catching and history-defining status. As we stun each time we are amazed by their “make-up”, we know that their subversion is a blockbuster, completely destroying existing memories and history. Since art entered the period of modernism, innovation and subversion have become the soul of its existence, and precisely because of this, art possesses the ultimate metaphysical value of “spirit” in Hegel’s philosophy, With the content of philosophical reflections. In the course of seeking new ideas and changing things, “bad arts” serves as a catalyst for change, drawing the wheel of history again and again to this day. From Damien Hirst in England to Yayoi Kusama in Japan and Araki; and from the “crystal skull” to the origin of the world, the boundaries of art are often promoted in the “bad art” atmosphere And change, at this time, “reflection ” become a necessary step, “choice ” is bound to be the next action necessary reason.