摘要
社会参与式艺术作为一种动态发展的全球性艺术潮流,自20世纪90年代以来在理论与实践层面取得了显著发展。然而其理论框架主要由欧美艺术史学界通过“追溯式艺术史”的写作方式加以建构,以“协商”和“对抗”为主要参与策略,未能充分涵盖非西方地区实践的多样性及其文化复杂性。中国社会参与式艺术实践在本土文化传统与社会治理需求的双重影响下,呈现出独特的价值与特征。中国哲学中的“中和位育”理念为社会参与式艺术提供了一种强调动态协调的开放性、生成性理论框架,不仅为全球艺术实践走出日益僵化的现代美学体系提供了新的路径,也为非西方文化背景下的参与式艺术研究开辟了重要视野。
Socially engaged art, as a dynamically evolving global artistic trend, has achieved significant development in both theoretical and practical dimensions since the 1990s. However, its theoretical framework has been primarily constructed by Western art historians through “retrospective art historiography,” emphasizing “collaboration” and “agonism” as its main participatory strategies. This framework fails to adequately encompass the diversity and cultural complexity of practices in non-Western regions. Shaped by the dual influences of indigenous cultural traditions and social governance needs, socially engaged art in China demonstrates distinctive values and characteristics. The concept of equilibrium and harmony, proper order and flourishment(Zhonghe Weiyu) in Chinese philosophy provides an open and generative theoretical framework that emphasizes dynamic coordination. This framework not only offers a new pathway for global artistic practices to transcend the increasingly rigid structures of modern aesthetics but also opens significant avenues for studying participatory art within non-Western cultural contexts.
出处
《清华大学学报(哲学社会科学版)》
北大核心
2025年第2期159-170,240,共13页
Journal of Tsinghua University(Philosophy and Social Sciences)
基金
国家社会科学基金艺术学项目“社会重大突发事件语境下的社会参与式艺术实践与理论研究”(20CA160)。
