發(fā)布時間：2018-04-13 06:45

  本文選題：政治波普 + 意識形態(tài)��； 參考：《中國美術(shù)學(xué)院》2010年碩士論文

【摘要】： 1990年代初,“政治波普”登上國際大展的舞臺,迅速贏得了國際藝術(shù)界的矚目。在此后的近十年中,“政治波普”成為西方理解和解釋“后冷戰(zhàn)”中國社會的一面鏡子,與當(dāng)代中國研究中的意識形態(tài)化論述連接在一起,并對中國當(dāng)代藝術(shù)形成了長期的影響。 本文試圖討論的是,在“后冷戰(zhàn)”的意識形態(tài)論述的巨大陰影下,我們忽視了中國政治波普中的一種隱性表達(dá),即張培力所代表的從微觀政治界面切入,以媒介批判形態(tài)表達(dá)的政治波普。這條隱性的線索與為人所熟知的王廣義的工作一起構(gòu)成了“政治波普”的兩條道路。其一是王廣義所代表的,從政治圖像學(xué)的運(yùn)作出發(fā),完成意識形態(tài)的視覺表述；其二是張培力所探索的,從日常生活的媒介批判入手,抵達(dá)微觀政治和生命政治的解構(gòu)。 本文第一部分,通過對美國波普藝術(shù)以及中國政治波普所發(fā)生的情境的比較分析,探討政治波普特定的歷史社會根源；第二部分對1980年代中期到1990年代初的王廣義一系列創(chuàng)作進(jìn)行深入分析,梳理了他從挑戰(zhàn)“南方文化”到反藝術(shù)史、反偶像再到視覺政治學(xué)的藝術(shù)歷程,并探討了“大批判”在其個人創(chuàng)作史中的意義和曖昧性；第三部分,通過對“池社”與“85新空間”的分析,討論張培力這一階段對繪畫情感表達(dá)和敘述性的抵抗,以及對“日�！钡陌l(fā)現(xiàn),考察他對媒介的批判性思考和表述,并進(jìn)一步論證他的工作與政治波普的關(guān)系；第四部分致力于對王廣義和張培力進(jìn)行深入比較,分析他們對于政治的不同理解、消解政治的不同方式,以及各自發(fā)展出的政治波普的兩條道路。
[Abstract]:At the beginning of the 1990s , " political wave universal " appeared on the stage of the international exhibition , quickly gained the attention of the international art world . In the next decade , " political wave " became a mirror of the western understanding and interpretation of the " post - cold war " Chinese society , connected with the ideological and ideological discourse in the contemporary Chinese study , and formed a long - term influence on contemporary Chinese art .


This paper attempts to discuss that under the great shadow of the ideological discourse of the post - cold war , we neglect a hidden expression in China ' s political wave , that is , the political wave of Zhang Pei - li , which is represented by Zhang Pei - li , is cut - in from the micro - political interface and expressed in the form of media criticism .
Second , Zhang Pei - li explores the media criticism of daily life , and arrives at the micro - political and life - political Deconstruction .


In the first part of this paper , through comparative analysis of the situation of American Popper art and China ' s political wave , this paper probes into the historical social origin of political wave .
In the second part , in the mid - 1980s to the beginning of the 1990s , Wang ' s extensive series of creations was deeply analyzed , and the artistic course from the challenge of " Southern culture " to anti - art history , anti - idol and visual political science was analyzed , and the significance and ambiguity of " big criticism " in his personal creative history were discussed .
In the third part , through the analysis of " pool society " and " 85 new space " , this paper discusses the expression and narrative resistance of painting emotion in this stage , as well as the discovery of " day - to - day " , investigates the critical thinking and expression of his media , and further demonstrates his relationship with political wave .
The fourth part is devoted to the in - depth comparison of Wang ' s broad sense and tension , and analyzes their different understandings of politics , the different ways of resolving politics , and the two paths of political wave developed by them .

【學(xué)位授予單位】：中國美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J114

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 胡斌;;當(dāng)代藝術(shù)的日�；�與富有智性的實(shí)驗(yàn)[J];榮寶齋;2011年08期

，

本文編號：1743368