激浪派与观念艺术的生成  

On the Fluxus and the Generation of Conceptual Art

作　　者：肖伟胜[1] Xiao Weisheng

机构地区：[1]四川大学文学与新闻学院,四川成都610064

出　　处：《江西社会科学》2022年第3期97-109,207,共14页Jiangxi Social Sciences

基　　金：教育部人文社会科学研究基金项目“艺术事件观下的杜尚现成品研究”(21YJA760074)。

摘　　要：创立于20世纪60年代初一直兴盛到20世纪70年代早期的激浪派,艺术动力来自于达达主义和约翰·凯奇的作品和哲学理念以及偶发艺术的直接促动,它的两个主要特征的样式是事件乐谱和激浪装备。销蚀艺术门类之间的边界,消融艺术与非艺术的界限,以及消除艺术与生活屏障的要求,都贯穿到了激浪派运动之中。约瑟夫·博伊斯作为激浪派的代表,理念或观念是其作品最为核心的内容,他早期激浪派的作品所使用的媒材都具有象征性内涵,后来趋向于“社会雕塑”的创作则具有浓厚的政治隐喻性。这些接近于交往互动模式的观念艺术,不仅引发了关于艺术的本质的重新思考,扩展了艺术的概念和边界,还蕴含着艺术家希望每个人都可以成为艺术家,和实现一个充满创造力的理想民主社会的允诺。Founded in the early 1960s and flourishing in the early 1970s, Fluxus is inspired by the works and philosophies of Dada and John Cage, as well as the direct stimulation of Happening Art whose main features are the event score and Fluxus’ equipment. The desire to erode the boundaries among art categories, to dissolve the boundaries between art and non-art, and to remove the barriers between art and life ran through the Fluxus movement. As a representative of Fluxus, Joseph Beuys’ ideas are the core content of his works. The media used in his early works have symbolic connotations, while his later works tend to be “Social Sculpture” with strong political metaphor. These conceptual arts, which are close to the mode of interaction, not only trigger a rethink on the nature of art and expand the concept and boundary of art, but also contain the artist’s hope that everyone can become an artist and realize the promise of an ideal democratic society full of creativity.

关 键 词：激浪派 事件艺术 人种学艺术 社会雕塑 观念艺术 

分 类 号：J0[艺术—艺术理论]