摘要
自20世纪90年代中期以来,主流当代艺术与新媒体艺术之间一直存在着话语分歧.新媒体艺术在寻求合法性的过程中发展出了一个自主和孤立的新媒体艺术的艺术界.本文深入分析了主流当代艺术与新媒体艺术之间趋同和分歧的中心点.通过讨论平行艺术界、后媒介状况、进一步挑衅,对克莱尔·毕晓普、罗莎琳·克劳斯、尼古拉斯·伯瑞奥德等人的观点以及主流当代艺术界的权力结构进行了批判.进而提出弥合裂隙,建构一种混合话语,在和解中对艺术史的正典以及新兴的艺术和文化形式形成新见解的主张.
Sincethemid-1990s,therehas always been a discourses divergence between mainstream contemporary art(MCA)and new media art(NMA).In seeking legitimacy,NMA has developed an autonomous and isolated NMA artworld.This article provides an in-depth analysis of the central points of convergence and divergence between MCA and NMA.By discussing the parallel artworlds,post-medium condition,and further provocations,the views of Claire Bishop,Rosalind Krauss,Nicolas Bourriaud,and others,aswellasthepower structureof the mainstream contemporary art world,were criticized.Furthermore,it is proposed to bridge the gap,construct a mixed discourse,and form new insights into the canon of art history and into emerging art and culture forms from a kind of rapprochement.
出处
《艺术当代》
2024年第2期80-87,共8页
Art China
关键词
主流当代艺术
新媒体艺术
数字艺术
后媒介
mainstream contemporary art
new media art
digital art
post-medium
