摘要
"极端化"行为表达作为一种当代艺术表达的"语言",在西方艺术史发展中有其演变的历史渊源,其根本特征便是其"用之其极"的极端化表现,而这样的表达形式与中国传统美学价值格格不入,甚至严重冲突,因此既缺乏生长与适应这种文化艺术的语境,又遭到主流官方艺术形态的打击与压制;与其自身的困境相比,更为不利的是当代艺术评论家对其置若罔闻,艺术批评探讨的空气非常稀薄。即使在中国前卫的当代先锋与实验艺术中,也再难见到它的身影,其基本存在状态处于地下式的或是潜伏式的。尽管"极端化"艺术表达在学理上具有一定的价值与意义,但是在中国社会生活、学术研究中缺乏任何的文化支撑或语境,因此,"极端化"行为基本上没有向前推进或发展的可能,而最有可能做到的就是通过弱化自身的存在感与存在方式,而寄身于诸如电视电影等流行媒介或艺术形态之中。摘要:
As a language of contemporary artistic expression, ＂Extremalization＂ has tis historical origin of evolution in the development of Western art history. Its fundamental characteristic is the manifestation of ＂extreme use＂, but this form of expression is incompatible and even conflicts with the Chinese traditional aesthetic value. Therefore, it not only lacks the context for its development and adaption, but also is suppressed by the mainstream official art form. Compared with its own dilemma, more unfavorable is that contemporary art critics pay no attention to it and discussion can be found rarely. Even in the contemporary avant-garde experimental art, it is hard to see its existence, as it is underground and hidden. Although the artistic expression of ＂extremalization＂ has a certain value and significance in theory, in Chinese social life and academic research, it lacks any cultural support or context. Therefore, it is not possible for ＂extremalization＂ to move forward or develop. Most likely by weakening its presence and existence, it can exist in media or other art forms such as films and TV dramas.
出处
《创意与设计》
2017年第4期47-51,共5页
Creation and Design
关键词
极端化
历史谱系
当代艺术表达
extremalization
historical genealogy
contemporary art expression
