Marta Anna Raczek-Karcz
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摘要

艺术与人类世——精选的艺术策略这篇文章介绍了三位平面艺术家的艺术项目的分析,他们近十年来一直试图以各种方式说明人类世的原因和影响。每个作者都使用不同的语言形式和不同的艺术工具,但他们的共同目标是建立,正如安吉洛斯·库特苏拉基斯(Angelos Koutsourakis)出色地指出的那样,基于“自我反思的代表性比喻”的“人类世的辩证表现”。这种自我反思并不是不断地提醒观者进入装置空间时眼前和所经历的是一种艺术建构,而是让观者意识到,他所观看和参与的——无论是通过形式还是内容——都是一种表现产生特定效果的原因和特定过程背后的效果的方式。在Sean Caulfield的案例中,它是关于让观众意识到个人行为的累积效应,当以逐渐被破坏的装置的形式描绘时,将注意力转移到引起全球变化的个人行为上。另一方面,安吉拉·斯奈德让观众意识到,塑造生产过程的历史条件影响了人们感知自然的方式。艺术家利用立体模型的视觉吸引力模糊了自然和工业之间的界限,最终使观众面对创造的现实的人为性。而Ellen Karin mahlum则提出了通常被分开对待的历史之间的联系问题:人类和自然。她所展示的生物是自然因素和人类对环境的影响相互结合的产物。认识到这一事实使我们能够将自然历史和人类历史视为相互联系的容器和领域,相互作用。本文分析了这些艺术家使用的策略,在他们与观众之间建立一种引人入胜的对话,这可能会唤醒观众对人类世复杂的原因和影响的认识。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Sztuka wobec antropocenu – wybrane strategie artystyczne
Art and the Anthropocene – Selected Artistic Strategies The article presents an analysis of the artistic projects of three graphic artists who for nearly a decade have been trying to illustrate the causes and effects of the Anthropocene in various ways. Each of the authors in question uses a separate language of forms and different artistic tools, but their common goal is to establish, as Angelos Koutsourakis excellently put it, “dialectical representation of the Anthropocene” based on “self-reflexive representational tropes”. This self-reflexivity is not about constantly reminding that what is in front of the viewer’s eyes and what he/she experiences when entering the space of the installation is an artistic construction, but to sensitize him/her to the fact that what he/she looks at and participates in – both through form and the content – is a way of representing the causes that produce specific effects and the effects behind which specific processes lie. In the case of Sean Caulfield, it is about making the viewer aware of the cumulative effect of individual actions, which, when depicted in the form of a gradually destroyed installation, direct attention to individual acts causing global changes. On the other hand, Angela Snieder sensitizes the viewer to the influence that the historical conditions shaping the production processes influenced the way people perceive nature. The artist uses the visual attractiveness of the dioramas to blur the border between what is natural and what is industrial, ultimately confronting the viewer with the artificiality of the created reality. While Ellen Karin Maehlum raises the problem of connection between histories often treated separately: human and natural. The organisms shown by her are creations in which natural factors and those resulting from human influence on the environment combine with each other. Recognizing this fact allows us to consider natural and human history as interconnected vessels and realms that interact with each other. The article analyzes the strategies used by these artists to establish an engaging dialogue between them and the viewers, which may result in awakening the viewers’ awareness of the complex causes and effects of the Anthropocene.
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