走向社会实践的艺术:参与式艺术的批评话语与理论启示

Art toward Social Practice:Critical Discourse and Theoretical Inspiration of Participatory Art

随着我国城镇化从外延式扩张转向内涵式建设,艺术介入城乡发展新格局的一系列具体实践也催生了对关于“艺术之社会参与”的理论的需求。以参与式艺术作为分析对象,立足前卫美学的三股理论思潮和两派批评论争,可以通过审美的自律与他律之辩来反思艺术与社会之间的内在关系。参与式艺术在艺术美学上的最大突破体现为对间性关系的开启,它使艺术成为在作者、作品、观众与世界之间进行沟通的关系媒介。参与式艺术的理论研究有助于促进艺术学与社会学、人类学的学科跨界融合,而当前国内涌现的许多创作案例也说明当代艺术在继承文艺“为人民”传统的基础上,正在深度融入城乡空间重构和日常生活重建。

With the transition of urbanization in China from outward or extensive expansion to inward or the quality-led construction,a series of specific practices of art intervention in the new pattern of urban and rural development have also given rise to a theoretical demand for“social participation in art”.Taking participatory art as the analysis object,based on the three waves of theoretical evolution and two schools of critical debate in avant-garde aesthetics,the internal relationship between art and society can be reflected through the debate between aesthetic self-discipline and heteronomy.The biggest breakthrough of participatory art in artistic aesthetics is the opening of intersubjective relationships,which makes art a medium of communication between authors,works,audiences,and the world.The theoretical research of participatory art helps to promote the interdisciplinary integration of art studies,sociology,and anthropology.Many creative cases emerging in China also demonstrate that contemporary art is deeply integrating into the reconstruction of urban and rural spaces and daily life,while inheriting the tradition of“literature and art serving the people”.