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| 文章编号：1672-3104(2021)01-0160-09 |
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1990年代中国实验艺术的社会介入与审美转向 |
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黄敏 |
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（南京大学艺术学院，江苏南京，210093） |
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| 摘 要： 1990年代中国实验艺术与中国社会的紧密互动，不仅直接塑造了实验艺术的外部语境和内容，也深刻影响了实验艺术内在的形式与机制。实验艺术对现实主义的反叛、对现成物的使用乃至对“物性”的颠覆，并非是对西方波普艺术、现成品艺术、行为艺术等艺术形式的简单模仿，而是将艺术家自身所处的社会文化语境以不同的方式内化为讲述中国问题的本土立场。同时，社会介入带来对审美机制的不同诉求，在“反艺术”“反美学”的标签下，实验艺术从传统的独白式观看转向主体间性的情境现场，从独立、自足、纯净的视觉感受转向开放混合、意义交织的复杂体验。然而，由于缺乏社会影响力，实验艺术在观看机制上对“现场性”的追求实际上处于缺席状态，并最终成为一种“档案化”的观看。 |
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| 关键词： 实验艺术；社会介入；审美转向；现场性 |
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Social engagement and aesthetic turn of Chinese experimental art in the 1990s |
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HUANG Min |
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（School of Arts, Nanjing University, Nanjing 210093, China） |
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| Abstract: The close interaction between Chinese experimental art and the society in the 1990s not only directly shaped the external context and content of experimental art, but also profoundly impacted its internal form mechanism. Rather than a simple imitation of western modern art such as pop art, ready-made art, performance art and other artistic forms, Chinese experimental art, with its rebellion against realism, its exploitation of existing objects, and its subversion of "objecthood", internalized the social and cultural context in which the artists lived into a "local perspective" in telling "Chinese story" in different ways. Social engagement also brought about a different appeal of aesthetic mechanism. Under the labels of "anti-art" and "anti-aesthetics", experimental art represented different demands on the viewing ways, turning from the traditional viewing in the way of monologue to inter-subjective scenario on the spot, from the self-sufficient and pure visual feeling to an open and mixed experience. However, limited by the narrow social influence, experimental art, with its pursuit for "presence" in viewing mechanism being essentially in the state of absence, turned out to be a kind of "archival" viewing. |
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Key words: experimental art; social engagement; aesthetic turn; presence |
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