From Transcendence to ＂Altercendence＂？

There seems to be a renewed interest in the last couple decades in studying and writing about consciousness. Consciousness may be the most difficult question humans are trying to resolve. Yet eliciting transcendence, a phenomenon that rises above, or goes beyond, normal limits of consciousness, has been an identified goal for many artists in the past, possibly even in cave art. Drawing on works shown in the 2006 Art Gallery of Hamilton exposition called Sublime Embrace： Experiencing Consciousness in Contemporary Art and in the 2002 Houston Contemporary Art Museum 2002 show called THE INWARD EYE： Transcendence in Contemporary Art, the author will explore the biological, psychological, cultural, and spiritual facets of transcendence. Perhaps, with the renewed symbiotic relationship between the sciences and art, the convergence of digital media, and the emergence of global communication networks, we are at the verge of art that will create a change, an alteration in our consciousness, and an altercendent state. What this change will be is yet a mystery.

当生命本身成为艺术——李山艺术展

2016年4月21日,由高岭策展的＂当生命本身成为艺术——李山艺术展＂在K空间开幕。展览以＂生物艺术＂为主题,展出李山绘画、影像题材,共计几十幅佳作,呈现了李山数十年中,在生物艺术领域里,对于生命和艺术的探索和研究。＂生物艺术＂是一种全新的艺术形态：艺术家根据基因原理和基因制造原理,制作艺术方案,按照基因工程的运作方式,构建带有生物性状的艺术作品。李山通过这样的形式＂让生命本身成为艺术,而不是让艺术去表达生命＂。

“周围世界”概念的美学出场:以生物艺术为研究对象

环境美学作为对传统自然美学思想的对立性补充,为人们重新审视自然的价值意涵打开了新的视野。然而,环境美学的两大脉络暗藏着难以弥合的分裂立场,尤其是在当代生物艺术对生命体及其生活的意义世界的多媒介再现中,传统的美学无法解决科学视域与主体视域的相互转换问题。本文试图指出,以“周围世界”为核心概念,将媒介视为生物艺术创作中映现、转换和建构不同“周围世界”的根本机制,有助于重新审视生物艺术的“艺术性”,并由此反思对自然的科学观察和参与体验如何整合并存的问题。