【摘要】：產生于上世紀六十年代的錄像藝術以其獨特的視覺語言和復雜多元的表達體系在當代藝術中占據著重要的地位,而時間和空間的介入更是豐富了錄像藝術表達的視覺語言。錄像藝術的語境表達作用于觀看者的個人意識,而這種個人意識又從錄像藝術的時間性和空間性中產生。時空性不僅在錄像藝術作品的主題中反復出現(xiàn),而且還是錄像藝術的本質特征。本文試圖以時間和空間為線索來探究錄像藝術的時空性特征,再通過具體的案例來分析論述其空間性的四個特征,即裝置空間構成、空間的本體、虛擬空間和空間中的身體承載,以及錄像藝術時間性的兩個階段:真實的時間和非線性時間,文章最后還構想了錄像藝術未來的時空性,以此來探索錄像藝術發(fā)展趨勢的更多可能。
[Abstract]:The video art, which is produced in the 1960s, occupies an important position in contemporary art with its unique visual language and complex and diverse expression system, and the intervention of time and space has enriched the visual language of the video art expression. The contextual expression of the video art acts on the individual consciousness of the viewer, which in turn is produced from the temporal and spatial nature of the video art. Spatio-temporal character is not only repeated in the subject of the video art, but also the essential characteristic of the video art. In this paper, the temporal and spatial characteristics of the video art are explored by time and space, and the four features of the spatial nature of the video are analyzed by the specific case, that is, the device space, the body of the space, the virtual space and the physical bearing in the space, And the two stages of the time nature of the video art: the real time and the non-linear time, the article finally conceived the space-time nature of the future of the video art, so as to explore the more possibility of the development trend of the video art.
【學位授予單位】：湖北美術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J5

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本文編號：2412631