摘要
本文通过梳理考察呼捷玛斯发展轨迹的同时,关注其在苏联社会生产与制度变迁中多重身份流转的原因,并试图就“生产”与“制度”的讨论回答“艺术与政治的关系”这一命题。首先,呼捷玛斯在与包豪斯的相互借鉴中共同奠定了现代设计教育的基本体系,为现代主义设计的形成提供了理论依据与风格上的借鉴。其次,经过与意识形态的杂糅,构成主义的现代话语功能被改造为整体计划的国家工具,平台化与制度化的场域交叠揭示了呼捷玛斯多重身份在先锋艺术和意识形态双重影响下的隐性建构方式。本文认为,构成主义成为政治隐喻的神话折射出艺术与政治的功能偶合,呼捷玛斯悖论表明,“艺术政治化”只有在艺术与政治的积极互动中才能发挥出超越文本的功能价值。
By examining the development track of Vkhutemas,this paper focuses on the reasons why Vkhutemas had multiple identities in the social production and institutional change of the Soviet Union,and tries to answer the proposition of"the relationship between art and politics"by discussing"production"and"institution".First of all,the Constructivism education of Vkhutemas provides theoretical basis and stylistic reference for the formation of modernist design.Secondly,the modern discourse function of the Constructivism has been transformed into a national tool of overall construction after being mixed with ideology.The overlap of platformization and institutionalization reveals the recessive construction mode of Vkhutemas'multiple identities under the dual influence of avant-garde art and ideology.The research shows that the Constructivism became into the myth of political metaphor reflects the functional coincidence between art and politics,and that the"politicization of art"can exert its functional value beyond the text only in the positive interaction between art and politics.
作者
浦安原
张磊
Pu Anyuan;Zhang Lei
出处
《艺术设计研究》
CSSCI
2021年第4期70-78,共9页
Art & Design Research
基金
中央高校基本科研业务费专项资金项目“日常生活视域下的中国现代设计史及其思想研究”(项目编号:22120200374)的阶段性成果。
关键词
呼捷玛斯
构成主义
生产
制度
艺术政治化
Vkhutemas
Constructivism
production
institution
politicization of art
