流动的疆域:社会参与式艺术的跨物种民族志书写  

Fluid Territories:Multispecies EthnographyWriting in Socially Engaged Art

作　　者：李竹 Li Zhu(The Research Institute for Contemporary Visual Art,Sichuan Fine Arts Institute,Chongqing 401331)

机构地区：[1]四川美术学院视觉艺术研究院,重庆401331

出　　处：《浙江社会科学》2025年第3期81-92,157,158,共14页Zhejiang Social Sciences

基　　金：国家社会科学基金艺术学项目“参与式艺术‘协商性’生产机制研究”(项目编号:23EA207)的阶段性研究成果。

摘　　要：近年来,后人类主义理论日益影响当代艺术的观念与创作,社会参与式艺术以“跨物种民族志”作为新的书写方式,主张促进人类与非人类之间的互动与共生,传统意义上静态的“物质”被视作独立的行动者参与到艺术创作中。这一过程重新定义了艺术的生产机制,展示了当代艺术对生态发展和社会关系的深刻反思。本文将探讨“跨物种民族志”及其背后的思想动因,在“物质转向”与“本体论转向”的耦合所形成的理论框架之下,分析社会参与式艺术如何通过“跨物种协商”的方式重新塑造自然、社会和文化的关系。In recent years,Posthumanism has increasingly influenced contemporary art concepts and practices.Socially engaged art adopts“Multispecies Ethnography”as a new methodological framework,fostering interaction and coexistence between humans and non-human entities.Traditionally static“matter”is redefined as an autonomous actor participating in the artistic process,thereby reshaping the mechanisms of art production.This process reveals a profound rethinking of ecological development and social relations within contemporary art.This paper explores“Multispecies Ethnography”and its underlying intellectual motivations,analyzing how socially engaged art,within the theoretical framework formed by the coupling of the“Material Turn”and the“Ontological Turn,”reconfigures the relationships between nature,society,and culture through“multispecies negotiation.”

关 键 词：社会参与式艺术 跨物种民族志 物质转向 本体论转向 跨物种协商 

分 类 号：G63[文化科学—教育学]