摘要
风景是什么,如何看见并面对风景,是当代人乡愁的一个重要问题。日本“越后妻有”大地艺术祭以一种以艺术开启的“风景发现”方式予以回应,从而引发了“风景”研究的历史回溯。从文化地理学到风景政治学的研究探索,是风景与文化和权力的关系逐渐清晰的历程,从而打开了风景所具有的巨大阐释空间。在风景政治视域中,“越后妻有”是一种被统摄进“里山”意向,并被构建出的符号化的“原风景”,由此可解释大地艺术祭提出的情景主义和去中心化特质的复兴企图。“越后妻有”的风景也因此成为了因观看而被发现,因自然而被审美的一种视觉体验,其美学话语表达出鲜明的当代性。
What the landscape is,and how to see and face it,is an important question of contemporary nostalgia.“Echigo-Tsumari”Art Field in Japan responds to this question with an art-initiated"discovery of landscape",thus triggering a historical retracing of the study of"landscape".The exploration of research from cultural geography to the politics of landscape is a gradual process of clarification of the relationship between landscape and culture and power,opening up the vast interpretive space that landscape has.In the context of landscape politics,Echigo-Tsumari is a symbolic“proto-landscape”that has been incorporated into the intention of“Satoyama”and constructed,thus explaining the attempt to revive the situationism and decentred qualities of the Art Field.The landscape of“Echigo-Tsumari”thus becomes a visual experience that is discovered through viewing and aestheticised through nature,and its aesthetic discourse is distinctly contemporary in expression.
出处
《艺术设计研究》
2023年第3期103-108,共6页
Art & Design Research
基金
教育部人文社会科学研究一般项目“‘命运共同体’视域下公共艺术的美学脉络及‘中国话语’研究”(项目编号:22YJA760018)
浙江省社科联研究课题“人类命运共同体视域下公共艺术美学的中国话语嵌入机制研究”(项目编号:2023N033)
杭州市社科常规性规划课题“新类型公共艺术的空间生产与风景政治互嵌机制研究”(项目编号:Z23JC097)阶段性成果
浙江工商大学东亚研究院、日本研究中心及浙江省文化产业创新发展研究院资助。
