论文部分内容阅读
行为艺术创作的现场很多时候没有任何观众在场,只有一架录像机或者一个摄影师和创作者,这个时候作品的在场性是否值得创作者考虑到他的方案中,或者作品该如何体现它的在场性,这是一个值得思考的问题。同时也存在行为艺术的现场有很多观众,但有些行为艺术并不存在着在场性,它里面更多的是一种表演性。这样看来,行为艺术现场的在场性不在于是否有观众,而是在作品的最初阶段中在场性有没有被创作者考虑其中才是关键。行为艺术的在场性与表演性的区别是什么,如何在行为艺术作品中分析在场性与表演性,笔者会在具体的行为艺术例子中去探索答案,这里具体的行为艺术不再是过去的经典作品,而是发生在当下并且尽量是笔者在现场的例子。
At times when there is no audience for the creation of performance art, there is only one video recorder or a photographer and creator. Whether the presence of the work at this time is worth the creator’s consideration of his scheme or how his work should manifest its presence This is a question worth considering. There are also many spectators at the scene of performance art, but there is no presence of some performance art, which is more of a performance. In this sense, the presence of a performance art scene is not about whether there is an audience, but whether the presence is considered by the creator in the very first stages of the work. What is the difference between the performative and performative performance of performance art and how to analyze the performativity and performativity in the performance art works? The author will explore the concrete examples of performance art, where the specific performance art is no longer the classic of the past Works, but occurred in the moment and try to be the author in the field example.