参与性公共艺术与文化审美共识的建构  

Participatory Public Art and Establishment of Cultural Aesthetic Consensus

作　　者：刘文斐 Liu Wenfei

机构地区：[1]复旦大学哲学学院

出　　处：《公共艺术》2023年第4期47-51,共5页Public Art

摘　　要：兴起于20世纪60年代的公共艺术从最初以艺术家为主导的独断的艺术形态,走向了公众参与式的空间共享、审美价值共识的共生共创模式。就艺术的本质而言,艺术是对真理的揭示和对社会关系结构之可能性的模仿。公共艺术涉及最广阔的共享空间和最全面的社会关系,这种社会关系结构的演进,就是公共艺术所遵循的“内在秩序”。“现代性”造成了人和世界、个体和群体、实体和精神诸关系的扭曲分离。在“复归性”视角下,公共艺术实践可以帮助我们返本开新,重建人与世界的精神秩序以及社会群体关系的深层连接,达成根本的审美共识,进而让文明得到有序且可持续的发展。Public art,which emerged in the 1960s,has inevitably moved from an artist-driven,monolithic art form to a public participatory model of shared space and consensus on aesthetic values.Essentially,art is a revelation of truth and an imitation of the possibilities of social relations structure.Public art involves the broadest shared space and the most comprehensive social relations,and the evolution of this social relation structure is the"inner order"that public art follows."Modernity"has created a distorted separation between people and the world,individual and group,entity and spirit.Under the perspective of"reversion,"public art activities can help us return to our roots and rebuild the spiritual order between people and the world and the deeper connection between social groups,so that we can reach a fundamental aesthetic consensus and thus enable civilization to develop in an orderly and sustainable manner.

关 键 词：公共艺术 社会关系结构 内在 秩序 复归 

分 类 号：J0[艺术—艺术理论]