九十年代中國當代攝影藝術的拒斥與融合： 以《新攝影》雜誌為中心

Abstract

本文以《新攝影》雜誌（1996-1998）為對象，通過結合對藝術家的作品、個人經驗以及其所處的歷史與社會語境的分析，探討他們作品中所呈現的九十年代的中國景象：包括攝影與行為藝術的遭遇，藝術家對九十年代興起的消費文化浪潮的反應，以及他們如何處理八十年代的思想遺續。《新攝影》中觀念攝影的出現，交織在中國攝影史、中國當代藝術和文化的發展之中，而藝術家們所處的具體的社會與歷史語境，則使他們作品中呈現的「九十年代的中國大陸」變得具體而生動。因此，本研究將選取《新攝影》雜誌中出現的藝術家：榮榮、鄭國谷、劉錚、洪磊和邱志杰的作品，將他們置於中國攝影、當代藝術的發展過程和中國大陸九十年代中後期的文化氛圍之中，以期描繪出九十年代後期的「中國」景象一隅。

This thesis aims to analyze the New Photo magazine (1996-1998) and howthe artists in the magazine present China in the 1990s. It related to their personal experience and the historical and social context. How photography met with action art? How the artists reacted to the trend of consumer culture rising in the 1990s? And how they dealt the culture in the 1980s? The idea Concept Photography is very important in New Photo. To investigate this concept, Chinese photography history and the development of Chinese contemporary art and culture should be taken into consideration. Rongrong, Zheng Guogu, LiuZheng, Honglei and Qiu Zhijie are the artists in New Photo, and their works will be the analyze objects. Their experience and their work will be combined with Chinese photography history, Chinese contemporary art and the cultural atmosphere to describe China in the 1990s.