艺术商品化和大众化进程中的艺术非独立——大同大张“殉道自缢”事件引发的沉思

Non-Independence of Art During the Process of Commercialization and Popularization——Due to the Meditation Triggered by the Incident of Art Martyrdom of Datong Dazhang

随着当今资本的不断涌入与参与,当代艺术界不断加剧了商品化和大众化的发展态势,艺术原本具有纯粹性与独立性的“无用之用”功能逐渐消失。并且,由于与金钱的交往过于密切,艺术生产中的异化现象也急遽加重,当代艺术界的作品良莠不齐,甚至附庸在金钱上的“拜物教”艺术作品也堂而皇之成为艺术市场上的主流。而且,当代艺术的边界也变得模糊不清,艺术观众则难辨黑白,詈夷为跖。大同大张对当今艺术界现状进行身体力行的批判、为艺术殉道事件引发沉思,进而将当今艺术非独立的问题秩序化、文本化,举例论证当代艺术发展愈来愈丧失“自我”的现状,并结合相关批评家的论点与论据作为理论支撑,最后提出对于当代艺术是否还能“独立”或坚守“本真”的相关思考。

With the influx and involvement of capital today, the contemporary art world has become increasingly commodified and mass-marketed, and the useless use function of art, which was originally pure and independent, has gradually disappeared. Moreover, the phenomenon of alienation in the production of art has increased dramatically due to the close association with money, with works of contemporary art being of varying quality. Even Fetishistic works of art attached to money are becoming the mainstream in the art market. The art market has also become blurred, and art viewers are unable to distinguish between black and white. The author’s contemplation is prompted by Daido Dazhang’s critical art martyrdom against the current state of the art world, and then by the ordering and textualisation of the problem of the non-independence of art today, citing examples to argue that the development of contemporary art is increasingly losing itself, Combining the arguments and theories of relevant critics as theoretical support, it finally proposes a reflection on whether contemporary art can still be independent or adhere to its true nature.