构成主义的发生及其观念困境  

The Emergence of Constructivism and Its Conceptual Dilemma

作　　者：岳媛 周诗岩[1] YUE Yuan;ZHOU Shi-yan(School of Art and Humanities,China Academy of Art,Hangzhou 310002,China)

机构地区：[1]中国美术学院艺术人文学院,浙江杭州310002

出　　处：《美育学刊》2023年第1期42-50,共9页Journal of Aesthetic Education

摘　　要：从俄国先锋派代表人物埃尔·利西茨基撰写的《艺术的诸种主义:1914—1924》寻起,可以追溯俄国构成主义在对外确立单一身份之前承载的复杂甚至矛盾的多种取向。构成主义技术实乃艺术家进入社会生产的必然选择,由此触发了契机并在投入生产后遭遇重重困境。构成技法与构成主义观念在现实中陷入绝境有其深层原因,但构成主义者不断变化的技术观也留给了艺术、社会真正的遗产。Based on the book Die Kunstismen/Les ismes de l’art/The Isms of Art:1914-1924 written by the representative of the Russian avant-garde,El Lissitzky,it is expected to trace a variety of complex and even contradictory orientations of Russian constructivism before the establishment of a single identity in March 1921.This paper focuses on the changing technology view of constructivists and its consequences,demonstrates that constructivist technology is the inevitable choice for artists to enter social production,expounds the opportunities triggered by this and the difficulties encountered after putting into production,and then reveals the deep reasons for the impasse of constructivist techniques and concepts in reality,as well as the real legacy left to art and society.

关 键 词：构成主义 技术 生产 

分 类 号：J206[艺术—美术] J110.9