传统符号的重构式挪用——以徐冰为例  

Reconstruction of Traditional Symbols:a Case Study of Xu Bing

作　　者：周计武[1] 

机构地区：[1]南京大学艺术研究院,江苏南京210093

出　　处：《徐州工程学院学报（社会科学版）》2017年第1期78-83,88,共7页Journal of Xuzhou Institute of Technology：Social Sciences Edition

基　　金：教育部哲学社会科学研究重大课题攻关项目"当代中国社会转型中的视觉文化研究"(12JZD019);国家社科基金项目"艺术体制论研究--从现代到后现代"(13CZW007)阶段性成果

摘　　要：对传统视觉符号的重构式挪用是当代中国先锋艺术中普遍采用的一种视觉表征策略。通过视觉符号的借用与转换,它不仅挑战了把艺术家个性视为艺术表征的现代主义艺术观,而且在社会转型期的文化语境中重构了传统艺术符号的现代意义。作为具有国际影响力的先锋艺术家,徐冰始终活跃在中西方两种文化之间的中间地带,试图在两种文化符号的挪用、并置与错位中反思文化的交流、碰撞与误读问题。文字上的表里不一、书画同体的创作观念以及无法释读的荒诞感,在徐冰的艺术文本中是一以贯之的表征策略。他通过视觉结构上的相似性和上下文的改变,从内部重构了传统文化的意义。The reconstruction of traditional visual commonly used in contemporary Chinese avant-garde symbols is a kind of visual representation strategy art. By borrowing and transforming visual symbols, it not only challenges the modernist view of arts which regards artist ＂s individuality as artistic representa- tion, but also reconstructs the modern meaning of traditional artistic symbol in the cultural context of so- cial transformation. As an avant-garde artist with international influence,Xu Bing has always been active in the middle of the two cultures, trying to reflect on cultural exchange, collision and misreading in the misap- propriation, collocation and dislocation of the two cultural symbols, Paronomasia, consubstantiality and grotesque are the symbolic strategies used consistently in Xu Binges artistic texts. He reconstructed the tra- ditional culture from the interior by the similarity and the change of the context in the visual structure.

关 键 词：传统符号 挪用 当代先锋艺术 重构 徐冰 

分 类 号：J120.2[艺术—艺术理论]