何以为新:艺术破坏现象的误读与正名——兼谈先锋艺术的生成逻辑及其转型  

What Is New:On the Misinterpretation and Reinterpretation of the Phenomenon of Art Vandalism——Discussing on the Generative Logic of Avant-garde Art and Its Transformation

作　　者：陈汉 CHEN Han(College of Liberal Arts,Wuhan University,Wuhan Hubei 430072,China)

机构地区：[1]武汉大学文学院,湖北武汉430072

出　　处：《内蒙古社会科学》2022年第5期136-143,共8页Inner Mongolia Social Sciences

基　　金：教育部人文社科基金规划项目“艺术学理论研究的知识依据问题”(编号:17YJA760032)。

摘　　要：艺术破坏作为重要的艺术现象,在话语实践、艺术形态及创新策略等层面表现出“物质性破坏”和“事件化创造”的竞争与交融,亦可见破坏性和创造性之间微妙的辩证关系。其张力在先锋派追逐新异性与形塑艺术本真性的过程中,逐渐凝塑成一种自反式的内在生成逻辑,成为艺术获得相对于其他社会实践场域的自律地位的重要依托。由此,基于物质性构成要素与事件化演变机制的分析,从传统的物质本体论转向一种过程、事件本体论,对于艺术破坏现象的研究有着重要的启示意义。As an important artistic phenomenon, art vandalism shows the competition and fusion of material destruction and event-based creation in terms of discourse practice, art form and innovation strategy, the subtle dialectical relationship between destructiveness and creativity can also be seen.In the process of avant-garde chasing novelty and shaping the authenticity of art, its tension gradually condensed into a self-reflexive internal generative logic, which became an important support for art to gain a self-disciplined position relative to other social practice fields.Therefore, based on the analysis of the constituent elements of materiality and the evolution mechanism of eventualization, the transition from the traditional material ontology to a process and event ontology has important implications for the study of the phenomenon of art vandalism.

关 键 词：艺术破坏 艺术创新 先锋艺术 事件化 物质性 

分 类 号：J0[艺术—艺术理论] J02