Research On The "dialogue" Of Chinese Installation Art

As one of the most important forms of contemporary art,the installation art mainly refers to the artistic works designed or manufactured by artists to express perception,experience and existence in a particular place or three-dimensional space.In the post-modern society,with the continuous extension of the concepts of technology,space,subject experience and so on,the installation art with these concepts as the main element also develops and changes constantly,the device under the direction of the frame,supported by the new technology,not only increasingly highlights the characteristics of the traditional art categories such as interactivity and participation,but also profoundly reshapes the relationship between the world,the artists,the appreciators and the work itself,thus in this "discourse" century the installation art presents a humanistic spirit and poetic connotation of the "dialogue" spirit and equality,openness,tolerance of the theoretical direction.In addition,because of the special birth background and artistic ecology,compared with western art,Chinese installation art shows a more complex "dialogue "nature.This paper will take the dialogue poetics of Russian literary theorist Bakhtin as a theoretical resource to systematically explain the "dialogue" of Chinese device art,explore the meaning of dialogue in the practice of device art,and then open up a new theoretical perspective for understanding this new artistic pattern.This thesis is divided into seven parts.The first part,briefly introduces the origin and research significance of the topic,the research method and the innovation point of this paper,and reviews the present research situation at home and abroad.In that second part,we will understand and explain the connotation of Bakhtin's Dialogues Theory,and investigate the origin of the "dialogism" of Chinese and Western art from the angle of the development of the art.Thus,we can confirm the possibility and rationality of our interpretation.The third part,from the perspective of historicism,we will comb and investigate the evolution of the installation art and its development in China.In order to systematically grasping the background and artistic ecology of this kind of artistic pattern and paving the way for our further exploring.In that fourth part,focusing on "subject construction theory ",this paper probes into the aesthetic meaning generation mechanism of Chinese installation art.Combining with the characteristics of Chinese installation art,this paper expounds how to rewrite the relationship between the world,artists,works and readers,so as to break the traditional central thinking mode and transform it into inter-subjective relationship,thus establishing the inter-subjective meaning generation mechanism based on dialogue.The fifth part,starting from the "polyphonic theory" and synthesizing synchronic and diachronic research perspective,we will explore how the poetics connotation of"polyphonic equivalence" can be realized in the practice of the Chinese installation art,which emphasizes the "polyphonic equivalence"among many kinds of consciousness and multiple voices.The sixth part,taking the "carnival" as the theoretical resource,we will explore the carnival discourse of the Chinese installation art and expound the humanistic spirit of this art pattern and the potential danger of "false carnival" hidden in today's development.To provide forward-looking guidance for the ethical turn and benign development of the installation art in China.The seventh part will provide an overview of the paper's context,and sum up the value of the thesis's point of view and the proposition.