2022美术:共情与共创  

Fine Arts in 2022: Empathy and Co-creation

作　　者：郑工 ZHENG Gong

机构地区：[1]广州美术学院美术学研究中心

出　　处：《中国文艺评论》2023年第3期40-53,I0003,共15页China Literature and Art Criticism

摘　　要：本文将从三方面讨论2022年中国美术的年度问题。第一,多方参与共同建构话语平台,以不同城市举办的国际美术双年展为例,讨论大众与精英的话语消长;第二,主题性美术创作中的新时代精神,以第7届全国青年美术作品展览和第15届全军美术作品展览为例,讨论主题与时代的联动关系;第三,艺术与科技深度融合的学科定位,以教育部新增本科专业名录及各地实施情况为例,讨论系统设置中的序列与依存。所论三者,无一不处于变动之中,并让我们看到动之根本,在于场域的境况。2022年中国美术正处在当代转型的关键时期,优化生态系统,共情共创,是一种解决的方式,而到后疫情时代,也许还会再次面临个体性问题的挑战。This article will discuss the annual issues of Chinese fine art in 2022 from the following three aspects. First, a discourse platform jointly constructed by multiple participants, taking the International Art Biennale held in different cities as an example to discuss the discourse waxing and waning of the masses and the elites. Second, the spirit of the new era in the creation of thematic art, taking the 7th National Youth Art Exhibition and the 15th National Military Art Exhibition as examples to discuss the linkage between themes and times. Third, the disciplinary orientation of the deep integration of art and science and technology, taking the newly added list of undergraduate majors of the Ministry of Education and their implementation in various regions as examples to discuss the sequence and dependence in the system setting. All the above three are in a state of flux and they show us that the root of the movement lies in the situation of the field. In 2022, Chinese art is in a critical period of contemporary transformation, during which optimizing the ecosystem and co-creating with empathy is a solution to solve the problem. And in the post-epidemic era, it will probably once again face the challenge of the problems of individuality.

关 键 词：2022年美术 话语平台 时代性 艺术与科技 共情与共创 

分 类 号：J124[艺术—艺术理论]