摘要
中国当代艺术借用已有的多重"能指",转向"所指"当下中国社会语境中的"大叙事"和"小叙事"。它既不像传统艺术和现代艺术的大叙事和以人为中心的主体叙事,也不像后现代艺术那样消解大叙事而只关注小叙事。中国当代艺术更主要的还是要让艺术回到艺术本身来探讨各种内容,这里的艺术本身包括了中国传统的"与六籍同功"的内容,也包括了"成教化、助人论"的思想。这些内容需要被转化为具有当代性的意识。这里使用"能指"、"所指"、"大叙事"、"小叙事"以及"主体叙事"等概念,其目的就是把中国当代艺术的生存语境凸显出来,显示其时间意识与当代意识的两个重要范畴。
The Chinese modem art with the help of existing multiple "can refer to" has changed into "refers to" denoting the "great narrative" and "slight narrative" in the Chinese social context. Unlike the traditional art and the modem art which feature "great narrative" or human - centered narrative, and unlike the post - modern art which lays emphasis on "slight narrative" in stead of "great narrative", it advocates that art should be regarded as art in its original sense. The art in this sense embodies the traditional Chinese contents of "with six nationality analogies" as well as the thought of "becoming the enlightenment, and helping the human theory". These contents need to be transformed into modern consciousness. In this paper, such concepts as "can refer to", "refer to", "great narrative", "slight narrative", "the main body narrative", are used in order to make prominent the context in which the Chinese modern art exists, thus showing its time consciousness and contemporary consciousness
出处
《大连大学学报》
2010年第1期75-79,共5页
Journal of Dalian University
基金
国家社会科学基金项目(09BA011)"比较艺术学体系研究"阶段性成果
关键词
比较视域
当代艺术
当代性
comparative perspective
contemporary art
contemporary feature