中国当代艺术创作中的“卡通”现象研究

发布时间：2019-03-13 11:25

【摘要】： 90年代是中国社会的转型期，中国当代艺术发生、发展的现实依据也随之发生了重大的变化，市场经济的发展、中国都市文化和青少年文化的兴起和不断更新的社会现实共同决定了艺术家作品的倾向。从上世纪末到本世纪初，人们的生活已经发展为在很大程度上依赖于数字化科技，人们的审美经验，也无法避免地从虚构的卡通、动漫、游戏和网络的传输中产生了新的认知与欣赏系统，远远脱离了传统的认定标准。出生于70年代和80年代的年轻人是我国都市文化和青少年文化的主要构建者，“70”后艺术家则是我国艺术界的新生力量，在商品经济大潮的冲击下，他们在生活态度、艺术态度上和其他艺术家截然不同，体现了青年艺术家的生活体验、思维方式和审美经验。在“70”后艺术家的创作中，很多艺术家不约而同地选择了与自己的日常生活紧密联系，形式夸张的卡通形象，以绘画、装置等艺术形式在作品中大量使用卡通形象，70后艺术家的“卡通”艺术作品在同龄人中具有很强的亲和力，极易被认同，并有着强烈的视觉冲击感，逐渐成为众多的中国当代艺术家和评论家关注的对象。 “卡通一代”和“新卡通一代”艺术现象是当代青年文化的一部分，中国当代艺术中的“卡通”现象并不是一种简单的标新立异，在这种新异题材的背后有着深刻的经济、社会、文化背景和复杂的心理因素。“他们长在轻飘的红旗下，又浸染过资本主义的酷和物质感”，“卡通”艺术现象的出现和我国社会转型、生活环境的变化、生活方式的改变、传统的缺失和文化的多元化、青少年个人身心发展历程有着密切的关系。 “卡通一代”艺术工作组由黄一瀚、响叮当(陈秋彤)、田流沙、冯峰、孙晓枫、江衡、苏若山等一批画家组成。“卡通一代”进行的是一种卡拉OK式的批判，即借助流行手段、流行符号进行最轻松、直接的批判。既关注了卡通一代的存在方式和日常态度，突出了这种态度下不加遮蔽的快乐原则，又披露了他们易于成为拷贝文化俘虏、缺乏进入社会的能动性和主体性的精神障碍。“卡通一代”标志着中国一部分艺术家的创作重心从批判、反思、形而上的政治话语，转换到对日常生活与文化的具体感受。卡通在“卡通一代”那里更多的是作为文化问题而提出的，这是作为一个社会问题而出现的艺术潮流，近几年来掀起的“新卡通一代”的艺术浪潮，是“卡通”艺术现象的延续发展和推进。被认为属于“新卡通一代”的画家有孔巍蒙、熊宇、沈娜、熊莉钧、李继开、欧阳春、徐毛毛、高踽等。“新卡通一代”并没有自觉地关注卡通这一文化问题，而是不自觉地受到卡通文化的影响——卡通是他们在自己的成长经验中找到的视觉形式，强调卡通的“感觉”，更多地是表达他们自己的、切身的、本真的卡通生活。他们的图式、风格与趣味基本上是在卡通文化的影响下建立的。总体来说，“卡通”艺术作为一种正在新一代艺术家群体中大规模崛起和蔓延的艺术现象，，已经是中国当代艺术不可忽视的一个新潮流，表现了新人类对世界的全新认知方式，这种直接切入大众流行文化、网络文化与商业消费文化的做法，从本质上看乃是当代艺术发展的一种大趋势。
[Abstract]:The 90 's is the transition of Chinese society, the development of Chinese contemporary art, the realistic basis of the development also has changed greatly, the development of the market economy, the rise of the Chinese urban culture and the youth culture and the renewal of the social reality together determine the tendency of the artist's work. From the end of the last century to the beginning of this century, people's life has been developed to depend to a great extent on the digital science and technology, people's aesthetic experience, and can not avoid the new cognition and appreciation system from the transmission of the fictitious cartoon, the animation, the game and the network, It's far from the traditional identification standards. The young people born in the 1970s and 1980s are the main constructs of the urban culture and the youth culture in our country. The post-"70" artists are the new forces of the art world in our country, and under the impact of the spring tide of the commodity economy, they are living The attitude and the artistic attitude are very different from other artists, which embody the life experience, the way of thinking and the aesthetic of the young artists Experience. In the post-"70" artist's creation, many artists have chosen to be in close contact with their daily life, in the form of an exaggerated cartoon image. In the art of painting, device and so on, a large number of cartoon images are used in the work, and the "Cartoon" art of the post-70s artist has a strong affinity in his peers, is very easy to be recognized, and has a strong sense of visual impact, gradually becoming a large number of contemporary Chinese artists and critics The "Cartoon generation" and "new cartoon generation" art phenomenon is a part of the contemporary youth culture, the "Cartoon" phenomenon in contemporary Chinese contemporary art is not a simple standard, and there is a deep economic, social, cultural background and complex behind this new theme In the red flag of the light, they also dip into the cool and material feeling of capitalism, the appearance of the "cartoon" art phenomenon and the social transformation of our country, the change of the living environment, the change of the traditional lack and the culture, and the physical and mental development of the young people. Close relationship. The "Cartoon generation" art working group is composed of the yellow one, the ring-jingling (Chen Qiuyi), Tian Liusha, Feng Feng, Sun Xiaoer, Jiang Heng, and Su. A group of painters, such as the mountain. "The Cartoon generation" is a kind of Karaoke type of criticism, that is, by means of popular means, the most popular symbol is the most important. It is easy and direct criticism. It is not only concerned with the existence way and the daily attitude of the cartoon generation, but also highlights the principle of happiness without shading in this attitude, and also reveals that they are easy to be a copy of the cultural prisoners, and the lack of the initiative of entering the society. The mental disorder of the subjectivity. The "Cartoon generation" marks the creative center of gravity of a part of the Chinese artists from the criticism, reflection, metaphysical political discourse, and the transformation to the daily life In the cartoon generation, more of the cartoon is put forward as a cultural problem, as a social problem The art tide, the "new cartoon generation" of art in recent years, is the "Cartoon" art. The continuing development and promotion of the phenomenon of the operation. The painter who is considered to belong to the "new cartoon generation" has the hole, Xiong Yu, Shen Na, Xiong Lijun, Li Jikai, The "new cartoon generation" is not consciously concerned with the cultural problem of the cartoon, but is not consciously influenced by the cartoon culture. The cartoon is the visual form that they have found in their own development experience, emphasizes the "feel" of the cartoon, and more expressing their own, Cut body, this real cartoon life. Their schemata, style and interest are basically in Under the influence of the cartoon culture, as a whole, the "Cartoon" art, as a new generation of the art phenomenon of large-scale rise and spread in the new generation of the artists, has been a new trend that the Chinese contemporary art can't ignore, and represents the new human's new cognition to the world The direct cut into the popular culture of the mass, the network culture and the commercial consumption culture, from the essence
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J120.9

【引证文献】