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文艺理论研究

文艺理论研究 ›› 2015, Vol. 35 ›› Issue (6): 69-75.

• 专题：图像与记忆 • 上一篇    下一篇

革命符号的反讽式挪用——为了忘却的记忆

周计武
  

  1. 南京大学艺术研究院
  • 出版日期:2015-11-25 发布日期:2017-09-22
  • 作者简介:周计武，文学博士，南京大学艺术研究院副教授，主要从事西方艺术理论与美学研究。

Ironical Appropriation of Revolutionary Signs: For Memories Buried in Forgetting

Zhou Jiwu     

  1. Art Institute of Nanjing University
  • Online:2015-11-25 Published:2017-09-22
  • About author:Zhou Jiwu, Ph.D., is an associate professor at Art Institute of Nanjing University, with research interests in Western art theory and aesthetics.

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摘要： 对革命符号的反讽式挪用是中国当代艺术普遍采用的一种视觉表征策略。其目的是为了让不可见的文化创伤成为可追忆的视觉文本，并在文本的图像叙事中解构等级化的象征符号秩序。当代艺术对革命符号的挪用主要表现在三个方面，一是视觉语言的正向挪用与反向挪用；二是视觉形象的置换变形；三是视觉文本的戏仿。当然，并不是所有革命符号的挪用都是反讽式的。判断反讽至少有三个标准：语义的复调性、语境的共享性与效果的间离性。

关键词: 当代艺术, 革命符号, 挪用, 反讽, 戏仿, 视觉表征

Abstract: The ironical appropriation of revolutionary signs is a visual representation strategy widely used in contemporary art practice of China, with the purpose to transform invisible cultural trauma into visual text of remembrance. Amid the textual and visual narratives, hierarchical order of symbols and signs meets its deconstruction. Appropriation of revolutionary signs in contemporary art practice is evident in three aspects: 1) appropriation and contra-appropriation of visual signs; 2) displacement and transformation of visual images; 3) parody of visual texts. However, not all appropriation of revolutionary signs is ironical, and the criteria for irony should include semantic polysemy, contextual sharing, and alienation effect.

Key words: contemporary art, revolutionary signs, appropriation, irony, parody, visual representation