南京牛首山佛顶宫的公共艺术与场所精神

文章运用实地考察法、文献搜集法,从公共艺术特性入手,通过南京牛首山佛顶宫的文脉、空间及其内外的装置以及人们在这样的宗教建筑环境中进行有关活动的分析研究,寻找公共艺术作品与场所的契合点。通过对契合点的阐释,希望对中国建筑艺术作品的公共艺术与场所精神研究提供一点参考,以期日后创作出更加成功的公共艺术与场所精神相结合的案例。     

城市文化视角下的公共艺术设计策略研究

公共艺术与城市文化两者的关系十分密切，在城市整体形象建设中结合城市规划与建筑设计，注重公共艺术整体性设计，在城市公共空间与环境建设中融入公共艺术，能够实现城市历史与文化的良好传承，并将城市公共活动空间所具有的地域文化特色充分发挥。旨在对城市文化视角下的公共艺术整体性设计展开深入研究，并从整体性设计的城市文化、规划、建筑等多个层面进行深度解析。     

Aboriginal and Torres Strait Islander employment policy and Welfare to Work: The Community Development Programme and the need for new narratives,new alliances and new institutions

The way Australian federal governments have approached Aboriginal and Torres Strait Islander employment and welfare policy over the last two decades has been a paradigmatic example of what not to do in policymaking. In the absence of effective engagement or consultation, a series of decisions under Coalition and Australian Labor Party governments have had a range of negative consequences for Aboriginal and Torres Strait Islander peoples. These changes – centred around the closure of the Community Development Employment Projects (CDEP) scheme and implementation of the Community Development Programme (CDP) – have resulted in increased unemployment, inadequate support for job creation, a dramatic over‐application of income penalties to social security recipients and reduced capacity in many community organisations. This article argues that these outcomes constitute policy failure, especially given that genuine engagement with Aboriginal and Torres Strait Islander people could have prevented many of these consequences. It then turns to an exploration of three ways in which Aboriginal and Torres Strait Islander people are responding to such policy failure: through promotion of new narratives, new alliances, and new institutions. The study concludes that while we should avoid “specious hope”, there is room for optimism in a renewed push for Aboriginal and Torres Strait Islander sovereignty.     

Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

城市公共艺术与文化软实力的对接关系研究——以广州为例

文化软实力是一个国家除军事经济之外让别人主动接近的吸引力,城市公共艺术也是一种与大众有亲缘关系的艺术形态。某种程度上说,城市公共艺术是文化软实力在艺术领域的一种显象。广州城市公共艺术在器物层、行为层、制度层诠释了文化软实力的静态和动态的维度。     

鲍德里亚的消费经济批判及其艺术性变革

在鲍德里亚看来，当代社会在经济现象形态方面表现为消费经济的活跃，需要进行符号经济学批判。当代消费经济具有独特的运行机制，是将各种商品都转化为符号体系的过程，这既是资本的进一步扩展、资本增值的实然逻辑，又是技术理性的渗透、媒介信息的传播，还是物体系的形成、拜物教的深化。消费经济及其奢侈文化从大都市扩散到世界各地，推动了当代商业的发展。当代消费经济令人与人之间关系冷漠，围绕人的不再是实际物品，而是众多意义，需要用结构主义符号学分析其运行机制，采用艺术性变革的方式消除消费异化。艺术能够建构具有救赎作用的乌托邦，不应只为了满足感官刺激，而要通向真理之路，唤醒人的创造潜能，改造消费社会的不合理机制。     

艺术设计教育理念与文化产业需求意向的对接

以培养符合文化产业发展需求意向以及知识结构合理的复合型人才为目的，探讨艺术设计教育理念与文化产业诉求的契合点，分析艺术设计教育理念的定位调整对文化产业市场及文化产业综合形象力的提升产生的积极作用，进而得出艺术设计教育理念与文化产业需求意向的对接，关系到艺术设计教育的发展前景，并对文化产业起到推进动能和促进作用，对文化价值观产生不可估量的影响。     

中国共产党百年文艺工作的发展历程、基本经验及当代启示

百年来，在马克思主义理论指导下，党的文艺工作始终坚守“以人民为中心”的初心，致力于民族解放与国家发展大局。从艰辛成长到曲折探索，到蓬勃发展，再到丰富创新，党的文艺工作有辉煌成就，也经历过坎坷曲折，它为百年中国革命、建设与改革事业提供了精神动力，注入了思想活力。党的百年文艺工作坚持以马克思主义文艺观为指导，坚定党在文艺工作中的领导地位，维护人民在文艺工作中的主体地位，并始终把握“弘扬主旋律”的文艺工作主题。昨日之史，今日之鉴。百年历程启示我们，在今后的文艺工作中，要坚持政治性与艺术性的统一、建设性与批判性的统一、娱乐性与教育性的统一，要善于定目标、举旗帜、聚能量，不断展现新时代文艺发展的新风貌。     

Tea Art as Everyday Practice: Gongfu Tea in Chaoshan,Guangdong, Today

In recent decades a style of preparing and drinking tea modelled largely on gongfu tea associated with the Chaoshan region of north-eastern Guangdong Province, China, has been taken up as a contemporary tea art in Taiwan, Hong Kong, the Chinese mainland and elsewhere. This paper draws on fieldwork conducted in Chaoshan to examine gongfu tea as contemporary practice in its home setting. Three aspects are considered: gongfu tea as an everyday practice, as a refined practice, and as commercialised leisure in tea-houses. I argue that, as an everyday practice in Chaoshan, gongfu tea primarily serves to nourish social connectedness with family, friends and associates. It is regarded as an integral part of day-to-day life rather than a tea art. However, some people separate it from the everyday world by cultivating discernment and knowledge with regard to selected aspects, such as high-quality teapots or appreciation of different teas.     

地域文化在环境艺术设计中的应用与传承

为了更好地实现在环境艺术设计中传承地域文化，了解两者的基本定义是基础。从地域文化与环境艺术的概念出发，就地域文化对环境艺术表现与缺失进行深入分析，同时通过探析地域文化对环境艺术设计的现实意义，对环境设计中地域文化的应用与传承进行研究。