花溪的水、明斯特的桥与羊磴的河:公共艺术的“审美事件”生成与游戏精神实践  

The Water of Huaxi,the Bridge of Münster and the River of Yangdeng:The Generation of"Aesthetic Events"in Public Art and the Practice of Game Spirit

作　　者：焦兴涛(文/图)[1] Jiao Xingtao

机构地区：[1]四川美术学院

出　　处：《公共艺术》2025年第1期19-24,共6页Public Art

摘　　要：本文通过德国明斯特雕塑展作品《在水上》、贵阳花溪戏水经历及贵州羊磴“河滩泳池”项目三个案例,分析探讨公共艺术的“审美事件”生成机制与游戏精神实践,提出有别于制度化的公共艺术。审美游戏化的公共艺术通过即兴参与的事件性结构,以偶发性和流动性重塑日常经验,并通过具有游戏精神的“唱和”式互动消解“作者创作—观众参与”的二元结构,使意义在合作协同中生成。公共艺术的价值不在于永恒性,而在于以生态智慧缝合艺术与生活,唤醒对日常的惊奇,重构社会关系的流动性。This paper analyzes and discusses the generation mechanism of"aesthetic events"and the practice of game spirit in public art through three cases:the work"On the Water"at the Münster Sculpture Exhibition in Germany,the experience of playing in the water in Huaxi in Guiyang,and the"River Beach Swimming Pool"project in Yangdeng,Guizhou.It proposes a different idea from the institutionalized public art.In the event structure of improvisational participation,aesthetic gamification of public art reshapes daily experience with contingency and fluidity,and dissolves the binary structure of"author's creation and audience participation"through the"antiphonal"interaction in the game spirit.Eventually,the meaning is generated in cooperation and collaboration.The value of public art lies not in eternity,but in stitching art and life with ecological wisdom,awakening the wonder of the everyday,and reconstructing the fluidity of social relations.

关 键 词：审美事件 游戏精神 制度化公 共艺术 羊磴艺术合作社 

分 类 号：J0[艺术—艺术理论]