垃圾艺术与城市景观的物性政治  

Trash Art and the Materiality Politics of Urban Landscapes

作　　者：郑勇[1] Zheng Yong

机构地区：[1]天津工业大学艺术学院

出　　处：《天津社会科学》2024年第5期129-136,176,共9页Tianjin Social Sciences

基　　金：天津市教委科研计划项目“工艺美术专业漆艺课程体系构建与人才培养模式研究”(项目号:2019SK010)的阶段性成果。

摘　　要：垃圾艺术通过将废弃物转化为视觉和文化的组成部分,挑战了传统的艺术界限并将城市景观带入新的意义层次。垃圾艺术的表意被其使用的材料所限制:软垃圾是对艺术材料可能性的探索;硬垃圾的可用性和可弃性矛盾赋予艺术作品对消费主义、工业化和城市化的新表达;建筑废墟则通过艺术手段将易变的本质嵌入了所有建筑的核心。当垃圾艺术出现在城市景观之中,它又呈现出了新的悖论特征:一方面是击碎城市完满性的创口,另一方面又以观赏物的形式成为可消费的景观。因此,垃圾艺术景观呈现出复杂的“物性政治”内涵:它既关联着现代社会的空间理性——一种排斥混乱、芜杂和肮脏的卫生政治观念,又是对这种空间理性的抗拒和背离。在这里,现代社会以物的整饬征用或压抑鲜活生命经验,同时也培养了垃圾景观潜在的抗争意识。Trash art challenges traditional boundaries of art and introduces new layers of meaning to urban landscapes by transforming discarded materials into components of visual and cultural expression.The signification of trash art is constrained by the materials it employs.Soft waste explores the possibilities of artistic materials;the paradox of hard waste's availability and disposability imbues artworks with new expressions of consumerism,industrialization and urbanization;and architectural ruins embed the transient nature of all buildings into their very core through artistic means.When trash art emerges within urban landscapes,it generates a new set of paradoxical characteristics:on one hand,it acts as a rupture in the perceived wholeness of the city,while on the other hand,it becomes a consumable spectacle.Thus,trash art landscapes exhibit a complex“materiality politics”.On one hand,trash art is tied to the spatial rationality of modern societya sanitary political notion that excludes disorder,clutter,and filthwhile on the other hand,trash art resists and displaces this spatial rationality.In this context,modern society,by organizing objects,suppresses vibrant life experiences,yet at the same time cultivates the latent resistance inherent in trash landscapes.

关 键 词：城市景观 垃圾艺术 物性政治 

分 类 号：TU984[建筑科学—城市规划与设计] J0[艺术—艺术理论]