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先锋派艺术作品并非单一的意识形态的表现物,其形象或话语总是试图表达更为复杂的内涵,并在政治宣传和艺术自律之间打开一个新的审美领域。一方面,它是一个真正意义上的政治宣传手段;另一方面,它已经失去了思想的政治潜力,但它仍然保留着审美性的存在。从1920年开始,先锋派艺术被看作是政治宣传的艺术,既具有艺术自律的审美功能,同时也存在着与之相反的政治功能。在经历了历史的同化过程后逐渐转化为另一种抽象和美的艺术体制,其文本保留着在今天看来极具视觉化的审美效应。今天,它已然褪去了意识形态色彩并逐渐演化成为一种艺术机制。先锋派艺术作品经历着不断失去作品他律性和不断获得(或保留)作品自律性的浮动过程,这一过程不仅使作品逐渐远离先锋派创作的原初性,而且也最终呈现出各种独特性。
Avant-garde artwork is not a single manifestation of ideology. Its image or discourse always attempts to convey more complex connotations and opens up a new aesthetic field between political propaganda and artistic self-discipline. On the one hand, it is a real means of political propaganda; on the other hand, it has lost the political potential of thinking, but it still retains the existence of aesthetic. Since 1920, avant-garde art has been regarded as the art of political propaganda. It not only has the aesthetic function of art self-discipline, but also has the opposite political function. After experiencing the process of assimilation of history, it gradually transformed into another art system of abstraction and beauty. The text retains the highly visual aesthetic effect that appears today. Today, it has already faded its ideological color and gradually evolved into an art system. Avant-garde works of art go through the process of constant loss of his law and constant acquisition (or retention) of the self-discipline of the floating process, the process not only gradually away from the work of avant-garde works original, but also eventually showing a variety of unique .