现成物介入雕塑的几种方式
摘要
长期以来,在雕塑艺术发展过程中,雕塑语言的拓展一直是雕塑学中的关键问题,不同时期的艺术家对雕塑有着不同的认知。雕塑艺术发展至当代,日常生活中的物品越来越多的受到人们的关注,对于现成物品的利用和改造已经成为雕塑语言的一大特征,物的精神价值意义突显。于是围绕着物的问题,甚至物能不能成为雕塑、怎样成为雕塑的问题的争辩,成为学界所关注的一个问题。本文试图从以下几个方面展开探讨,以确立物在拓展雕塑学概念中的定位。要讨论这个问题,需要对雕塑中的“物”的概念进行一番梳理。首先,我们需要明确的一点是,物作为雕塑意识范畴的一份子是随着西方现代主义的产生和发展,逐步被挖掘了出来的。西方现代工业文明的发展所导致的社会分裂,使得人们不能满足于对艺术的美感与和谐的诉求。人们不再满足于对客观事物的完美再现,而着重于一种艺术创作过程的体验和个体精神信息的交流。这种对于物的精神价值的强调,正是体现了强烈的个体意识解放。其次,现实生活中所有的事物都有其自身的存在意义,不仅仅是指人们生活中的物品,还指存在于人们周围的物体、物质。这些事物自身的美感经过艺术家的精神意义的把握和提炼最终成为艺术品,得以成为艺术家传达独特感受的载体。综合这些艺术品,其中的物就包含了物品、媒介、物质和物体。然而物成为雕塑而不是装置作品,就是要在当下雕塑语境下对物进行传统雕塑意义上的加工处理。我们如何在当代的语境下把握物的精神价值及在拓展雕塑学中的意义,本文从以下三点展开讨论:第一,艺术家对物直接进行放大或者缩小,使其失去原有物的使用功能。一方面,那些司空见惯的物所带给人的日常经验激发出单纯的实在性意义在脱离了原有的上下文关系后,丧失了日常经验和指称能力,其实在论的所指意义就没有了;另一方面,现成物以世俗性、日常性消除了现代艺术的神圣性和诗意,审美距离由此消失,观众对作品的想象力被迫转化为对物的直接反应——一种日常的、习惯性反应;然而,脱离日常语境的物在艺术家所设定的语境中又完全以陌生化的方式出现,艺术经验所特有的距离感和想象力也就随之出现。第二,艺术家对物进行加工改造以突显物品的内在精神特征。物的所指意义的开发表现出一种对东方古典美学的认同。既要求把艺术本体从对形式的追求转到艺术媒介的物质实在方面,强调媒介的内在本质的表达。艺术家开始努力挖掘物本身的灵性,以及其中蕴藏的天然表性特征,使物产生出独特的象征性的价值及隐喻的内涵。第三,艺术家对物进行材料转换,使得物同时具有物与材料的双重语境。尽管物有其自身的精神价值意义,但是与现代材料结合后,更注入了作者现实生活的情感表达。物自身语言的价值以及在处理材料的过程中那些带有艺术家强烈主观性的迹留,都加深了物的现代属性。一方面记录着艺术家与物对话的过程;一方面将其审美感受属性转化为艺术家与观众的心与心的交流。第四艺术家把物作为材料来做造型,通过物的特定含义彰显造型的力量。这一点也是颇受争议的一点。这类作品它同时具有装置和雕塑的双重特征,既具有装置的装配性又有雕塑的三维立体造型性。他们采用装配和雕塑的加减手法,来处理造型。下面这些作品能从一定程度上说明物的另外一种转换为雕塑的方式。物能成为雕塑范畴的一份子是时代造就的产物,随着人类的发展还会出现超越于这之上的艺术表现形式,但是物作为这个时期特有的一种文化艺术形态,将保留它独特的艺术魅力。
To extend the sculpture language is always the key point in the sculpture area for a long time, and the sculptors have different ideas in the different periods. Up to the present, people pay more attentions on the objects in our daily life. It's become a feature that to use and rebuild the existing objects, and gives more prominence to the spiritual value of the objects. So there are many controversies about weather the objects can be a sculpture, and how to be a sculpture. This essay will talk about this controversy as the following facts, and to establish objects' place of the sculpture area. To talk about this topic, I will do some explanations of the objects in the sculpture. First, the object was found as the developing of western modernism. The people were not satisfied with beauty and the harmony of arts because of the fragmentation of society in the western modem industrial civilization, and they focus on the artic creation experiences and the exchanging of personal information. It's just show a strong liberation of personal consciousness through the emphasizing of the objects' spirit. Second, everything has its own existent meaning in reality, and they become the artworks since refined by the sculptors. The objects become to artworks but not installations, it depends on the refined in a traditional way of the sculpture environment. How to catch the objects' spiritual value in the contemporary environment and the meaning of the extending sculpture science? First, sculptors change objects' size directly, and make them lose the original functions. Second, sculptors process the objects to pop out the inside spiritual. The explorations show a agreement of the oriental classical aesthetic. Artists try to explore the original soul of the objects to express the special symbolize. Third, artists converse the objects' materials to make them have double conceptions. The objects could express feelings after combined with modern materials. The artists' subjective traces during the process can make the objects more modern. One side, recoding the dialogue process between artists and objects. The other side, conversing the aesthetic attributes to be the communication between the artistes and audiences. Forth, artists use objects to make sculptures, showing power of the shape. This kind of works both have the features of installations and the sculptures, it's also a argument point. The following works can introduce another method conversing objects into sculptures. The special age make objects to be a member of the sculptures, and there will be more expressions methods overcoming with the developing of human society. But as a special art and culture form in this period, the objects would keep its particularly artistic fascination.
To extend the sculpture language is always the key point in the sculpture area for a long time, and the sculptors have different ideas in the different periods. Up to the present, people pay more attentions on the objects in our daily life. It's become a feature that to use and rebuild the existing objects, and gives more prominence to the spiritual value of the objects. So there are many controversies about weather the objects can be a sculpture, and how to be a sculpture. This essay will talk about this controversy as the following facts, and to establish objects' place of the sculpture area. To talk about this topic, I will do some explanations of the objects in the sculpture. First, the object was found as the developing of western modernism. The people were not satisfied with beauty and the harmony of arts because of the fragmentation of society in the western modem industrial civilization, and they focus on the artic creation experiences and the exchanging of personal information. It's just show a strong liberation of personal consciousness through the emphasizing of the objects' spirit. Second, everything has its own existent meaning in reality, and they become the artworks since refined by the sculptors. The objects become to artworks but not installations, it depends on the refined in a traditional way of the sculpture environment. How to catch the objects' spiritual value in the contemporary environment and the meaning of the extending sculpture science? First, sculptors change objects' size directly, and make them lose the original functions. Second, sculptors process the objects to pop out the inside spiritual. The explorations show a agreement of the oriental classical aesthetic. Artists try to explore the original soul of the objects to express the special symbolize. Third, artists converse the objects' materials to make them have double conceptions. The objects could express feelings after combined with modern materials. The artists' subjective traces during the process can make the objects more modern. One side, recoding the dialogue process between artists and objects. The other side, conversing the aesthetic attributes to be the communication between the artistes and audiences. Forth, artists use objects to make sculptures, showing power of the shape. This kind of works both have the features of installations and the sculptures, it's also a argument point. The following works can introduce another method conversing objects into sculptures. The special age make objects to be a member of the sculptures, and there will be more expressions methods overcoming with the developing of human society. But as a special art and culture form in this period, the objects would keep its particularly artistic fascination.
引文
《国外后现代雕塑》皮力著 江苏美术出版社
《通俗文化与艺术》邹跃进著 湖南美术出版社
《西方现代艺术与后现代艺术》葛鹏仁著 吉林美术出版社
《墙-中国当代艺术的历史与边界》 高明潞著 中国人民大学出版社
《观念艺术的中国方式》 顾丞峰著 湖南美术出版社
《艺术狂人-波依斯》[德]海纳尔 施塔赫豪斯著 赵登荣等译 吉林美术出版社
《中国雕塑》 2007年7月第二期 总第六十期
《通俗文化与艺术》邹跃进著 湖南美术出版社
《西方现代艺术与后现代艺术》葛鹏仁著 吉林美术出版社
《墙-中国当代艺术的历史与边界》 高明潞著 中国人民大学出版社
《观念艺术的中国方式》 顾丞峰著 湖南美术出版社
《艺术狂人-波依斯》[德]海纳尔 施塔赫豪斯著 赵登荣等译 吉林美术出版社
《中国雕塑》 2007年7月第二期 总第六十期