西方艺术体制批判的三条路径——基于本雅明·布赫洛艺术体制批判理论的分析与思考

Three Paths to the Institutional Critique of Western Art:Analysis and Reflections Based on Benjamin Buchloh’s Theory of Institutional Critique in Art

20世纪60年代以降,去物质化形态的观念艺术得到充分发展,同期出现的体制批判作为艺术策略,因其内在的观念性也广受艺术家的欢迎,但此时的"体制批判"(Institutional Critique)含义还并不明确。当70年代初"体制批判"首次作为术语被提出时,所指涉的只是某种以博物馆为中心的政治化艺术实践;之后的80年代中期,新的"体制批判"作为理论概念又被本雅明·布赫洛和克雷格·欧文斯建构起来,其内涵是"对体制机构的批判"。作为实践策略和理论的两次提出,让其讨论范畴越来越具体化。本文将通过深入把握理论文本的话语体系,重新解读和构建"体制批判"艺术实践的几条线索,同时,利用新的视角帮我们拓展艺术理论与批评研究的新方法。

Since the 1960 s,conceptual art in the form of dematerialization has fully developed.Institutional critique,as an artistic strategy that emerged during the same period,was also widely welcomed by artists because of its inherent conceptual nature.Nevertheless,the meaning of"Institutional Critique"at that time was not clear.When first being introduced as a term in the early 1970 s,it referred only to a certain kind of museum-centered politicized art practice.Later,in the mid-1980 s,the new"Institutional Critique"as a theoretical concept was constructed by Benjamin Buchloh and Craig Owens,whose connotation is"critique of institutions".The scope of the discussion has become more and more specific through being put forward twice as a practical strategy and a theory respectively.This paper will reinterpret and reconstruct several clues of the art practice of"institutional critique"through a deeper grasp of the discourse of theoretical texts,and at the same time,use new perspectives to help us expand the new approaches of research in art criticism.