90年代女性自画像艺术的文化场域分析——以喻红、刘曼文、陈曦的女性自画像作品为例

Analysis of Cultural Space of Female Self-portraits in 1990s——Case Study of Yu Hong,Liu Manwen and Chen Xi's works

90年代以来,部分女性艺术家在勾勒自我形象的同时往往将自我置于特定历史背景下,揭示出其与社会环境的诸种关系。她们或是尝试介入社会文化建构,或是以"静观"的方式呈现女性在转型时期的遭遇状态。这一方面表明当代女性艺术家开始有意识地借助自画像积极参与社会实践,另一方面验证了90年代以来现实之于女性自我意识的影响与作用。其间,我们可以发现两条相辅相成的线索脉络,一条是女性自画像内蕴的关乎历史的时间线性轨迹,另一条则是取决于女性在当代多元现实镜像中如何定位自身性别角色,进而建构自我形象的方式方法。这种女性自我与社会现实的互动关系于是成为探究当代文化内在权力结构、空间场域的切入点之一。

Since the 1990s, a part of female artists have often placed self in a specific historical context when drawing the outline of self-images, environment. They attempted to get involved in counters of women during the transitional period uncovering their various relationships with social social and cultural construction, or presented en- as an observer. On the one hand, this means that contemporary female artists have started to consciously take an active part in social practices by vir- tue of self-portraits ; on the other hand, this verifies the influence of reality on female self-conscious- ness since the 1990s. The interaction between female ego and social reality has become an entry point for the investigation of the inherent power structure and space of contemporary culture.