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随着社会的发展和当代城市建设的发展需要,公共艺术研究逐渐升温。在这样的背景下,《美术观察》04年第11期对“公共艺术如何公共”这一话题进行了热烈的讨论。其中,彭迪先生的《公共性:道义的熔铸》一文流畅通晓,犀利泼辣,给人印象深刻。但是,彭先生的文章在注重公共艺术的历史和文化的同时,却忽视了公共艺术的现代性和生活性。从词源学来看,“公共艺术”不是一个古代概念。它的内涵不在于一种指向精神层面的文化符号和象征,而在于它需要在历史还原与现代解读中重新确定公共艺术作为一种社会艺术的存在意义。也正是这种性质的变化,才使得被称之为公共艺术的公共性有其存在的必要。换句话说,公共艺术的公共性,应该是时代发展中的公共性。这是我特别强调公共艺术时代性的原因所在。由此来看,公共艺术的公共性是受到诸多因素制约的。
With the development of society and the development of contemporary urban construction, public art research is gradually warming up. In this context, “Art Observation” No. 11 of 2004 on the “public art how to public” topic for a lively discussion. Among them, Mr. Pendy’s “Publicity: Moral Molding,” a smooth and informed, sharp and pungent, impressive. However, while focusing on the history and culture of public art, Mr. Peng’s article neglects the modernity and life of public art. From etymology, “public art” is not an ancient concept. Its connotation lies not in a cultural symbol and symbol pointing to the spiritual aspect, but in that it needs to redefine the existence meaning of public art as a kind of social art in historical reduction and modern interpretation. It is also the change of this nature that makes it necessary for the publicity which is called public art to exist. In other words, the publicity of public art should be the publicity in the development of the times. This is why I particularly emphasize the age of public art. From this point of view, the public nature of public art is subject to many factors.