地形重生与对象终结 上海杨浦滨江的空间艺术及其基础设施向度

Rebirth of Topography and the End of Objects Spatial Art of Yangpu Waterfront and Its Infrastructural Dimension

当代公共艺术从20世纪后期紧密地参与到后工业化城市的复兴计划中,这一趋势近年蔓延到中国的城市更新计划中。随着公共艺术的体型日趋膨胀、媒介日趋多样、场地日趋复杂,以往"公共艺术"的定义已难以包容如此多样的构筑物类型。在2019年的上海城市空间艺术季中,公共艺术家溢出其职能边界,变成公共行为的导引者与地表形态的共同设计者,同时建筑师与景观设计师"越界"承担一部分公共艺术策划的工作。这两方的双向渗透对艺术实践的新组织方式提出了要求。

Contemporary public art has been intimately involved in urban regeneration plans of post-industrial cities from the late 20th century.This trend has also grown popular in China’s urban regeneration plan recently.As the scale of public art is growing,its media are becoming diverse and sites are more complex,previous definition of "public art" has been outdated and is not able to accommodate such diverse types of built structures.In the 2019 Shanghai Urban Space Art Season(SUSAS),public artists extended their functional boundaries and became the organizers of public behavior and co-designers of topography.In the meantime,architects and landscape designers were also "crossing the border" to undertake public art directing work.The two-way infiltration of these parties has put forward requirements for the new way of art practice organization.