“群众路线”作为艺术介入社会的中国经验

Chinese Experience of “the Mass Line” as a Means of Socially Engaged Art Practices

西方当代艺术介入社会实践中的前卫精神不断衰落,新自由主义的“为参与而参与”呈现出参与本身体制化的危机,在这样的情况下,延安时期以来形成的艺术介入实践,已形成架上绘画、剧场表演和社区文艺三种视觉模式,为我们提供了一种从“群众路线”来看待艺术介入社会的新视角。这些群众艺术实践以塑造人民群众主体性、建构人民社会为目的,形成了一套群众美学,它既区别于西方的前卫美学、大众美学,又区别于社会主义现实主义美学,重建了一种非西方的话语实践,构成了艺术介入社会的中国经验。

The avant-garde spirit in the social engagement of the contemporary Western art has been steadily declining and“participation for participation’s sake”proposed by neo-liberalism reveals the crisis of institutionalization of participation itself.Under this circumstance,three visual models of easel paintings,political theater,and community art that have been formed since Yan-an Period offers us a new perspective to view how art gets socially engaged from“the mass line”.These mass art practices form a set of mass aesthetics aiming to portray people’s subjectivity and shape people’s commune society that distinguished itself from Western avant-garde and mass aesthetics,as well as socialist realistic aesthetics.It thus reconstructs a non-western discourse practice and constitutes Chinese experience of socially engaged art practices.