自我与他者交互的中国当代艺术——以徐冰美国首展的研究及评论为例  

The Interaction Between Self and Other in Contemporary Chinese Art:A Case Study of Xu Bing's First Solo Exhibition in the United States

作　　者：苏典娜 SU Dianna

机构地区：[1]北京师范大学,北京100875

出　　处：《上海视觉》2025年第1期62-70,共9页Shanghai Vision

基　　金：中央高校基本科研业务费专项资金资助(编号:2018NTSS50);国家留学基金艺术类人才培养特别项目资助(编号:202206045001)。

摘　　要：研究中国当代艺术的美国观察与知识生产,有助于窥探海外的观察者如何塑造了20世纪90年代中国当代艺术家的形象,揭示背后隐含的文化与身份问题的冲突矛盾与生成原因。作者首先从“游牧”“离散”等理论术语来探讨全球化背景下当代艺术家的身份变化,试图寻找中国当代艺术家群体所反映的中国艺术精神特质。进而考察像徐冰所代表的“游牧”型艺术家面对全球资本和跨文化环境的创作,梳理其从《天书》到《鬼打墙》的创作脉络与批评争论,尤其是他在1991年的美国首展创作与展览“徐冰的三个装置”的国内外研究和评论,从而阐释作品在美术馆展场空间的多重意义呈现,探索“中国性”与“当代性”的多元化特征。The observation and knowledge production of Chinese contemporary art in the United States offers insights into how foreign observers have shaped the image of Chinese contemporary artists in the 1990s,revealing the underlying conflicts,contradictions,and origins of cultural and identity issues.The author first examines contemporary artists'iden-tity changes in globalization through theoretical terms such as"nomadic"and"diaspora",attempting to identify the qualities of the Chinese artistic spirit reflected in the Chinese con-temporary art community.The study then focuses on artists like Xu Bing,a "nomadic artist",exploring the impact of global capital and cross-cultural environments on their work.It traces the creative trajectory and critical debates surrounding Xu's works,from Tian Shu to Gui Da Qiang,especially his 1991 solo exhibition in the U.S.and the critical discourse surrounding the Three Installations of Xu Bing".This analysis clarifies the multiple meanings presented by his works in the museum space and explores the diversified characteristics of"Chinese-ness"andcontemporaneity".

关 键 词：中国当代艺术 美国研究 天书 游牧 徐冰 海外研究 

分 类 号：J05[艺术—艺术理论]