Rebuilding Everyday Life

In the 1950 s and 1960 s,Situationist International,which originated in Europe,proposed to stimulate people’s emotions and desires for real life through situational construction to resist the increasingly capitalized and late capitalist society from everyday life.In addition to the theory of the Spectacle Society by Guy-Ernest Debord,he was one of the founders of Situationist International,the ideological framework also included three others,the Critique Theory of Everyday Life by Henri Lefebvre,the Theory of Everyday Life Revolution by Raoul Vaneigem and Michel de Certeau’s Practice of Everyday Life,which together formed a social and cultural trend of thought that transformed society and changed everyday life since that time.This series of ideas has shaped the Situationist International and profoundly influenced the consumer society theory,postmodern theory and contemporary art in the middle and late 20 th century.The idea of situational construction included unitary urbanism,détournement,dérive,psychogeography and other modes of actions.These methods were closely related to the situationist international origins of European avant-garde art groups.For this reason,situationist international also had a profound influence on the art of later generations.Impacts,such as the relational aesthetics of the 1990 s,were critically inherited from the situationist international and the interpersonal interactions in art since the 1960 s.In the context of globalization,the spread and blending of art and ideas in various places has become more and more daily.Since the year of 2000,the Yunnan contemporary art scene was accompanied by the establishment of various art communities and the development of active experimental art projects to make Yunnan’s Contemporary art presents a diverse,multi-centered look.In this paper,through the conceptual vision of Situationist International and its situational construction,the author examines some art projects with situational construction features in Yunnan from 2005 to 2016.The artists consciously continued the concept logic of everyday life criticism and practice.At the same time,these art projects generally adopted cultural and customary practices to realize cultural strategies and conceptions of situational construction in a collective,playful way of doing event through everyday life.By comparing the comprehensive analysis of methods,forms,concepts and objectives of these art projects with the situationist international,these artistic practices with situational construction features in Yunnan are more microscopic,gamification with more emphasis on the collective.In these projects,artists develop participation,negotiation and oriental aesthetics,that is different from situational internationalism’s radical revolutionary social critique,and instead form a contextual construction of art,life and games.This has greatly stimulated the experimental spirit among the artist community,and has inspired the participants’ love and reflection on daily life,enabling artists and the wider population to reconstruct a series of micro,poetic and playful everyday life in the name of art.