當代中國藝術的範式與異質實踐——覃道義藝術創作論述

Abstract

百年來中國藝術迎合權力意志，標識民族主義身份，處於集體無意識狀態而形成制度美學。異質實踐的當代中國藝術所要反對者，正是此制度美學對個人的壓抑與個人創造力的否定。而當代藝術的職責之一是對範式的質疑。當代中國藝術之所以必行此路，是因為藝術家承載著人類精神衛士的職責，這也是我們需要藝術的真正原因。本文透過時間之軸，溯源藝術及百年來權力意志對當代中國藝術領域的影響作探討，分析藝術與權力之間的複雜關係，並探討、揭示權力機制的運作方式，以及權力對藝術創作的影響並進而固化為一定的範式；倡導現實主義繪畫、主題性創作，用美協、全國美展、美術館等加以鉗制，固化既有範式藝術的中心地位，成為制度美學的核心思想，這是當代中國藝術繞不開的問題；從範式中脫離出來，先鋒派藝術以批判性為自身標誌、以試驗性為手段、以顛覆性為目的，成爲了異質實踐的先例；只有穿越表像，勇於懷疑，通過對圖像的深入研究，使自己創作在面臨範式與異質、權力與抗爭等複雜交織的挑戰時，個體憑藉對社會的敏感認識，突破範式，轉化爲省思的推動力。當代中國藝術唯有衝破範式，藉藝術的異質實踐獲取精神自由，才能避免受其鉗制。筆者異質實踐創作的兩大關鍵的特徵——實驗性和批判性。實驗性是借助數位的媒材，強調藝術自身的異質，在藝術解構圖像方面不斷嘗試；而批判性則側重思想，即藝術家個體通過對社會的洞察，實現藝術對社會問題的揭示。也是藝術介入社會的積極意義。Over the past hundred years, Chinese art has been pandering to the will of power,identifying itself with nationalism, and forming its institutional aesthetics in a state of collective unconsciousness. It is the repression of the individual and the denial of individual creativity by this institutional aesthetics that contemporary Chineseart with its heterogeneous practices seeks to oppose. One of the responsibilities of contemporary art is to question paradigms.The reason why contemporary Chinese art must follow this path is that the artists assume the responsibility for being the spiritual guardian. it's also the real reason why we need art. Based on the timeline, this paper traces back the art, discusses the influence of the will to power on the field of contemporary Chinese art over the past century, analyzes the complex relationship between art and power, explores and reveals how the mechanism of power operates and the influence of power on artistic creation, and then solidifies the above into a certain paradigm. Advocating realism and thematic creation and inhibiting thtm with artistic associations, national art exhibitions, art museums, etc.solidifying the centrality of established paradigm art and making it the core idea of institutional aesthetics are all issues that contemporary Chinese art cannot get around.Breaking away from the paradigm, Avant-garde Art has become a precedent for heterogeneous practices by making criticalness its hallmark, experimental nature as its means, and subversiveness as its purpose. It is only by traversing appearances, daring to doubt, and enabling one's creation to face the complexly intertwined challenges of paradigm and heterogeneity, power, and resistance through the in-depth study of images that the individual can break out of the paradigm by virtue of his or her sensitive awareness of society, and transform it into a propelling force for introspection. Contemporary Chinese art can only avoid being enslaved by paradigms by breaking through them and gaining spiritual freedom through the heterogeneous practice of art. The two key featuresof heterogeneous practice creation in this paper are its experimental nature and criticalness. Experimental means emphasizing the heterogeneity of art itself with the help of digital media materials and making constant attempts at the artistic deconstruction of images. Criticalness, on the other hand, focuses on ideas. That is, the individual artist realizes the revelation of social problems by art through his or her insight into society. This is the positive significance of art's intervention in society.