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与其拒斥艺术及政治的现代主义辉煌时代或说乌托邦时代,而拥抱当下这个后现代主义的放逐时代及其形形色色的拙劣模仿,似乎还不如区分当代性与它自身时间之关系的两种不同方式更有意义。在塔特林或维尔托夫的时代,艺术的当代性到底是什么意思?这对身处二十一世纪之初的艺术家们意味着什么?“当代艺术”的这两种形式如何处置时间,如何处置时间与空间的关系?时间-空间关系如何与艺术-人生关系交结在一起?本文借以集中讨论这些论题的当代艺术作品,再现了当代这个录像时代或摄影空间里的资本主义过程。最后,本文对工业化的荒漠化与艺术新空间的创立之间的关系提出质疑。
Rather than rejecting the brilliant or modern utopian era of art and politics, embracing the postmodern era of exile and its parodies of parodies, it seems, are not as good as two different ways of distinguishing between contemporaryity and its own time more meaningful. What does the contemporary nature of art mean in the days of Tartrin or Vortov? What does this mean for the artists who lived in the beginning of the twenty-first century? How do these two forms of “contemporary art” be handled How time-space deals with the relationship between time and space? How does the time-space relationship relate to the art-life relationship? This paper attempts to focus on contemporary works of art on these topics and reproduce the contemporary capitalist process in this video age or photography space. Finally, this article questions the relationship between industrialized desertification and the creation of a new artistic space.