一 装置艺术是在对传统艺术的语言和媒介的探索及其对传统的极端反叛中诞生的,最初笼统地作为先锋艺术的一种,混杂于绘画、雕塑等传统艺术门类中,一起标帜为“某某主义”的方式而问世,从而易于让人将其看作为某种主义的独特艺术追求。对装置艺术做理论上的定位,意味着它既不是从属于某一种主义的特有艺术现象,也不是从属于某一传统艺术种类的一个变种,而是将其看作一种新的与各传统艺术种类相并列的自身完整独立的艺术种类。这种理论定位的有效性,源自于装置作品具有区别于任一传统艺术种类的作品的独特性。 装置作品在外观形态上显现为一种三维立体空间的视觉对象,这使其明显地区别于绘画而似乎同于雕塑。但这种表面上的相同实际上蕴含着内在的本质性区 A device art was born in the search for the language and media of traditional art and its extreme rebellion against the tradition. It was first generally used as a kind of avant-garde art mixed with traditional art categories such as painting and sculpture, “Moumou” way come out, so easy to let people see it as a unique art pursuit of a certain kind of doctrine. The theoretical positioning of the installation art means that it is neither a unique artistic phenomenon subordinated to a certain kind of doctrine nor a variant subordinated to a certain kind of traditional art but rather regarded as a new and different Traditional art categories juxtaposed their own complete independent art genre. The validity of this theoretical orientation stems from the uniqueness of installations whose works have different compositions from any traditional art. The appearance of the installation works appears as a kind of visual object in three-dimensional space, which makes it distinct from the painting but appears to be the same as the sculpture. However, this seemingly identical reality implies an inherently essential area