“物空间”的情感隐喻:当代陶瓷装置“剧场性”特征初探

Emotional Metaphor of"Object Space":An Analysis of the"Theatrical"Characteristics of Contemporary Ceramic Installation Art

20世纪60年代现代艺术界就极简主义艺术批评中析出的“剧场性”概念进行批判和反诘,却打开了一种新的艺术审视视角,即以观看为主的“在场性”视觉模式向以体验为主的“剧场性”感知模式拓展,旨在营造观众与作品之间具有能动性的情感空间。其中当代陶瓷装置艺术遵循当代观众的审美心理,以“物性”意象联想和“装置空间”的叙事性、对话性呈现出极强的“剧场性”特征,丰富的“剧场性”空间语言和陶瓷本体语言的“剧场性”审美观照与情感隐喻营构出多元化的艺术幻境,这是陶瓷艺术在回归物性本质认识之后的一种美学选择。

In the 1960s,the modern art circle criticized and counter criticized the concept of"theatrical"in minimalist art criticism,but opened a new artistic perspective,that is,the visual mode of"presence"based on viewing expanded to the perceptual mode of"theater"based on experience,in order to create an active emotional space between the audience and the works.Among them,the contemporary ceramic installation art follows the aesthetic psychology of the contemporary audiences,presents distinctive"theatrical"characteristics with"material"image association and the narrative and dialogue of"installation space",and constructs a diversified artistic fantasy with wonderful"theatrical"space language and"theatrical"aesthetic perception and emotional metaphor of ceramic ontology language.This is an aesthetic choice of ceramic art after returning to the understanding of material nature.