边缘叙事视野中的东南亚现当代艺术--以马来西亚、新加坡、印尼、越南为中心  

Modern and Contemporary Art in Southeast Asian Countries from the Perspective of Marginal Narratives:Centered on Malaysia,Singapore,Indonesia and Vietnam

作　　者：顾跃[1] 吴西子 Gu Yue;Wu Xizi(Faculty of Humanities and Arts,Macao University of Science and Technology,China)

机构地区：[1]澳门科技大学人文艺术学院,中国澳门

出　　处：《美术》2025年第3期28-35,共8页Art Magazine

摘　　要：本文研究东南亚地区现当代艺术的演变,聚焦新加坡、马来西亚、印尼、越南四个国家,探讨其在全球化背景下从中心到边缘的艺术史转型及文化意义。东南亚作为多元文化区域,其艺术发展受到殖民、全球化与本土文化的多重影响,包括后殖民、后现代主义与全球南方等理论介入,形成了融合与矛盾共存的艺术生态。通过比较四国美术的历史背景与社会脉络,梳理从原住民艺术到后殖民时期艺术的转型路径,强调华人美术家在区域艺术发展中的历史贡献,进而指出,四国美术的多样性不仅源于本土文化与外来文化的交融,还反映了国际化进程中艺术的去中心化与多元叙事特征。This article studies the development of modern and contemporary art in Southeast Asia,in particular in Singapore,Malaysia,Indonesia and Vietnam,and discusses the transformation from central art to marginal art and its cultural significance in the context of globalization.The development of art in Southeast Asia,a region with diverse culture,has been influenced by colonization,globalization and local culture,including the introduction of postcolonialism,postmodernism and theories regarding the Global South,forming an art ecology where there are both integration and tensions.By comparing the art history and social background of the four countries,this article combs through the way of transforming from indigenous art to postcolonial art,and emphasizes the contributions of Chinese artists to art development in the region.It further points out that the diversity of the four countries'art not only stems from the integration of local culture and foreign cultures,but also reflects the decentralized and diverse narratives of art in internationalization.

关 键 词：东南亚美术 边缘叙事 后殖民主义 现代性 

分 类 号：J110.9[艺术—艺术理论]