《当代美术家》总第152期-专题研究

高迎进　GAO Yingjin

作者简介：高迎进，南开大学文学院教授，研究方向为视觉与空间艺术理论和实践、综合媒材艺术和公共艺术。

摘要：在西方绘画艺术历史演变中，“画框”是“绘画空间”的隐喻，它是视觉知识和视觉观念的产物，同时也是视觉观念和视觉语言的生产者。在这个“框”内生成的绘画语言中，存在一种由“深度秩序”和“平面秩序”两种视觉思维活动构成的结构性张力，这种张力不仅是西方绘画语言体制形成和变化的驱动力，也是“绘画空间”形态特征和蜕变的标记。

关键词：阿尔贝蒂之窗；绘画空间；绘画语言；空间观念

安塞尔姆·基弗，《容器的破碎》(Shevirath Ha Kelim)，陶土、丙烯、布上淌画与清漆，330cmx760cmx1300cm，2009年。

Abstract: In the history of Western painting art, “frame” is a metaphor for “painting space”, which is the product of visual knowledge and visual concepts, and meanwhile it is the producer of the two. In the painting language generated within this "frame", there is a structural tension composed of two visual thinking activities, “depth order” and "plane order", which is not only the driving force for the formation and change of the Western painting language system, but also the marker of the morphological characteristics and transformation of “painting space”.

高宇　GAO Yu

作者简介：高宇，南开大学文学院博士后助理研究员，2014 年毕业于德国魏玛包豪斯大学“公共艺术与新艺术策略”专业，获艺术硕士学位（MFA），2020 年毕业于南开大学文学院文艺学专业，获文学博士学位。研究方向为都市批判理论、空间病理学以及艺术理论。

摘要：为了恪守价值中立原则，迪基放弃了艺术制度的历史维度，而选择将其看作现成的、无须加以考量的惯例和语境。这种审美态度之后的全新“迷思”，便是迪基艺术制度理论的悖谬所在。本文以比格尔的艺术社会学为理论视野，以艺术制度框架的纽结点即展览为研究对象，首先阐明了艺术所处制度语境的社会历史建构、真实具体运作与文化权力关系，进而对展览概念的评价内涵和历史内涵进行了回溯和揭示。通过展览审视艺术制度的具体运作，本文尝试将一种艺术迷思对另一种的取代，阐述为新旧艺术制度的历史更迭，目的在于思考审美态度和艺术惯例“迷思之争”的破解方法。

关键词：乔治·迪基；艺术体制论；艺术社会学；展览制度

Henri Gervex，《绘画评委会会议》（A Session of the Painting Jury），布上油画，300cm×419cm，约1883年。

Abstract: In order to abide by the principle of value neutrality, Dickie abandoned the historical dimension of the art institution, and chose to regard it as a readymade and unconsidered convention and context. This new "myth" after aesthetic attitude is the paradox of Dickie's institutional theory of art. Taking Bürger's sociology of art as the basic theoretical vision, and exhibition, the knot point of art institutional framework, as the research object, this paper first clarifies the socio-historical construction, real and specific operation as well as cultural power relations of the institutional context in which art is located, and then retrospects and reveals the evaluation and historical connotation of exhibition. By examining the specific operation of the art system through the exhibition, this paper attempts to interpret the substitution of one art myth for another as the historical change of the old and new art institution, aiming at thinking about the way to crack the "myth dispute" between aesthetic attitudes and artistic conventions.

Keywords: George Dickie; institutional theory of art; Sociology of art; exhibition system

张清莹　ZHANG Qingying

作者简介：张清莹，南开大学文学院博士研究生，研究方向为艺术学理论与艺术本体论问题。

摘要：本文以康定斯基及其艺术实践为例，试图探讨以反叛姿态出现的现代主义绘画在何种意义上代表了视觉政体的变革——在康定斯基这里，其文字与绘画所呈现的实证主义科学与神秘主义的杂糅，正是笛卡尔透视主义被科学实证主义所取代的过程中主体危机的一种表现形式。如果想要真正理解现代主义绘画的产生，就需要回到观看机制的问题上来。

关键词：康定斯基；反叛；笛卡尔透视主义；视觉机制；现代主义

 康定斯基，《黄红蓝》（Yellow-Red-Blue），1925年，现存于法国国立现代艺术美术馆（MuséeNational d’Art Moderne），巴黎。

Abstract: Taking Kandinsky and his abstract art as an example, this paper attempts to explore the relationship between modernism painting, which shows an intense rebellious attitude, and scopic regime of modernism. In Kandinsky’s case, the hybridization of positivist science and mysticism in Kandinsky’s texts and paintings was precisely a manifestation of the crisis of the subject in the process of the replacement of Cartesian perspective by scientific positivism. In this sense, it is required to investigate the concept of scopic regime so as to better understand the emergence of modernist painting.

Keywords: Kandinsky；rebel；Cartesian perspectivalism；Scopic Regime；Modernism

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