本文選題：去身份化 + 身份轉(zhuǎn)移�。� 參考：《四川美術(shù)學(xué)院》2017年碩士論文

【摘要】：本文主要研究中國(guó)當(dāng)代藝術(shù)身份意識(shí)的轉(zhuǎn)移,通過(guò)藝術(shù)家的簡(jiǎn)述及其代表作品分析來(lái)思考近40年來(lái)中國(guó)當(dāng)代藝術(shù)家的身份意識(shí)變化現(xiàn)象。20世紀(jì)以來(lái)中國(guó)藝術(shù)家對(duì)自身身份的焦慮一直從未停息,藝術(shù)家們所面對(duì)的一個(gè)重大問(wèn)題就是如何確認(rèn)自己的文化身份。上個(gè)世紀(jì)80年代,經(jīng)歷了中西融合與新時(shí)代的集體主義身份轉(zhuǎn)移的中國(guó)藝術(shù),獲得的最重要的成果之一就是開(kāi)始走向世界舞臺(tái),也因此,中國(guó)藝術(shù)家的身份再一次被強(qiáng)調(diào)�？鐕�(guó)的藝術(shù)交流增強(qiáng)了中國(guó)藝術(shù)家的身份焦慮,在國(guó)際藝術(shù)舞臺(tái)上他們的作品除了呈現(xiàn)先鋒、前衛(wèi)精神外,更加突出的便是“中國(guó)性”。帶有濃厚本土特色的當(dāng)代藝術(shù),使中國(guó)第一次正式的參與到了全球化的藝術(shù)游戲中,并用他們獨(dú)特的“身份”標(biāo)簽為其在國(guó)際藝術(shù)界贏得了巨大的關(guān)注和掌聲。21世紀(jì),網(wǎng)絡(luò)的快速發(fā)展,使得世界各國(guó)之間的交流越來(lái)越緊密,中國(guó)當(dāng)代藝術(shù)似乎正在用“去身份化”的姿態(tài)來(lái)面對(duì)這種始料未及的變化。80、90后的年輕藝術(shù)家的文化背景和身份意識(shí)越來(lái)越模糊,他們關(guān)注的是全球化的網(wǎng)絡(luò)空間和最新的文化潮流,他們采用了形式多樣,主題新穎,題材跨界,觀(guān)念多元的藝術(shù)手段來(lái)呈現(xiàn)全球共同面臨的問(wèn)題;因此,去掉老一代藝術(shù)家所賴(lài)以存在的“身份“就成為了一種必然。這種新的身份的轉(zhuǎn)移無(wú)疑為中國(guó)當(dāng)代藝術(shù)的發(fā)展帶來(lái)了新的焦慮和思考,今天的中國(guó)當(dāng)代藝術(shù)是否會(huì)越來(lái)越遠(yuǎn)離中國(guó)的本土文化,與中國(guó)的現(xiàn)實(shí)與傳統(tǒng)斷開(kāi)聯(lián)系?這種隱隱的憂(yōu)慮似乎并非因?yàn)橛辛司薮蟮乃囆g(shù)資本增值和當(dāng)今的藝術(shù)市場(chǎng)的繁榮而煙消云散。新世紀(jì)中國(guó)當(dāng)代藝術(shù)貌似發(fā)展成了一個(gè)近乎于完整的系統(tǒng),如今卻已經(jīng)很難用西方的傳統(tǒng)理論和簡(jiǎn)單的意識(shí)形態(tài)來(lái)闡釋其現(xiàn)狀。在這種語(yǔ)境下,中國(guó)當(dāng)代藝術(shù)家相比之前更加注重藝術(shù)家自身的“個(gè)性”,而不是集體的文化歸屬,也因此,“身份”問(wèn)題進(jìn)入了更為微觀(guān)和更為敏感的層面。本文試圖通過(guò)對(duì)歷史脈絡(luò)的梳理,結(jié)合當(dāng)代藝術(shù)現(xiàn)場(chǎng)和社會(huì)現(xiàn)實(shí),以代表性藝術(shù)家為例,來(lái)論證中國(guó)當(dāng)代藝術(shù)身份所發(fā)生的新的轉(zhuǎn)移,這有助于我們了解中國(guó)當(dāng)代藝術(shù),并為中國(guó)當(dāng)代藝術(shù)在未來(lái)的發(fā)展,提供前瞻性的思考。
[Abstract]:This paper mainly studies the transfer of identity consciousness in contemporary Chinese art. Through the brief description of artists and the analysis of their representative works, this paper tries to reflect on the changing phenomenon of Chinese contemporary artists' identity consciousness in the past 40 years. The anxiety of Chinese artists about their identity has never ceased since the 20th century. One of the major problems that artists face is how to identify their cultural identity. In the 1980s, one of the most important achievements of Chinese art, which experienced the integration of China and the West and the transfer of collectivism identity in the new era, was to begin to move to the world stage. Therefore, the identity of Chinese artists was emphasized again. The international art exchange has enhanced the identity anxiety of Chinese artists. In addition to their avant-garde and avant-garde spirit, their works on the international art stage are even more prominent in "Chineseness". Contemporary art with strong local characteristics makes China formally participate in the art game of globalization for the first time. With their unique "identity" label, it has won great attention and applause in the international art world in the 21st century. With the rapid development of the network, the communication between countries in the world is getting closer and closer. It seems that Chinese contemporary art is facing the unexpected change of cultural background and identity consciousness of the young artists of the 1980s and 90s with the gesture of "deidentity". They are concerned about the globalization of cyberspace and the latest cultural trends. They have adopted a variety of artistic means with diverse forms, novel themes, cross-border themes, and diverse concepts to present problems that are common to the whole world Removing the "identity" on which the older generation of artists depends has become a necessity. This new identity transfer undoubtedly brings new anxiety and thinking to the development of Chinese contemporary art. Will the contemporary art of China be more and more far away from China's native culture and disconnect from the reality and tradition of China? This vague concern does not seem to have been dispelled by the huge appreciation of art capital and the boom in today's art market. Chinese contemporary art seems to have developed into a complete system in the new century, but it is difficult to explain its present situation with the western traditional theory and simple ideology. In this context, Chinese contemporary artists pay more attention to their own "individuality" than before, rather than collective cultural ownership, therefore, "identity" has entered a more micro and sensitive level. By combing the historical context, combining the scene of contemporary art and social reality, and taking representative artists as an example, this paper tries to demonstrate the new transfer of Chinese contemporary art identity, which is helpful to us to understand Chinese contemporary art. And for the future development of Chinese contemporary art, to provide forward-looking thinking.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J120.9

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