摘要
在当今,声音艺术似乎正不断占据当代艺术的显著位置。不仅围绕声音的理论研讨不断深入,各大艺术场馆亦争相举办声音主题的展览。在此背景下我们却要来谈论＂后＂声音艺术,是否有些不合时宜？然而,诚如尼采和阿甘本的警示,＂不合时宜＂或许恰恰是真正介入＂当下＂的时间性策略。而本文标题中的＂后＂并非指向终结或后续的阶段/形态——即暗.
Today, sound art continues to occupy a prominent position in contemporary art. As theoretical discussions of sound have steadily deepened, major art venues have been competing to showcase aurally oriented exhibitions. Given the context of this rapid expansion, we have been forced to consider ＂post＂ sound art. Might this seem rather unzeitgemass, or ＂ill-timed？＂ Perhaps,
出处
《艺术界》
2016年第4期144-152,12,共9页
