场所·资源·手法

邬烈炎

Orientation and schematism are becoming people's discussed, criticized and expected targets, because there accomplished modality is: a mannered-style wall paintingrecording beginning and ending of incidents, a monument-style sculpture, a groupa direct copy of foreign works, some stylization decoration factors or fake antiques. Then, how does public art walk out of commonly-flush non-regional environment care and demonstrated design landscape withspecial significance and howdoes it gain the existing value in environment, region, decoration, vision, ground mark, symbol, modern feeling, culture, art and social lives, etc. from such key words as "mainland" "cultural glomus" "organic" "distinctiveness" is a problem that we should face squarely .

The self-existence of a public art works in "location" relation should express designers' cognition to region, experience to social culture, response to human activities and mental and emotional factors, and exchange action of modeling, structure, material quality, colour and environment. These factors should be regarded as the commonsensible existence and basic technical conditions of public art. Public art,notthe creation to the location spirit, plays a role of condensation or maintenance special site spirit and cultural character, as a whole, it should concern cultural glomus.

Site spirit, properly described and perfectly mastered, is not merely to embody cultural glomus spirit and signal symbol in public art creation, but is the new or even breakthrough scratch line of our public art, and make environment-location, antitype-resource, language-gimmick as a whole, which beyond doubt will effectively promote the development of contemporary public art with humane colour and local cultural value.

公共艺术的文化取向与图式选择正在成为人们议论、批评及期盼的对象，因为它的既成样式是：一幅记录事件始末的矫饰风格的壁画；一座纪念碑式的雕塑；一组毫无理由的不锈钢几何体；一件国外当代作品的直接复制；一些程式化的装饰元素堆砌或假古董。于是，公共艺术如何走出当下普遍泛滥的无区域环境景观及特定意义呈示的设计景观，如何从“本土”、“文脉”、“有机”、“独特”等关键词中，获得环境、地域、装饰、视觉、地标、象征、现代感、文化、艺术及社区生活等方面的存在价值，是一个必须正视的问题。

场所

人们对一件公共艺术作品提出的要求是，它在这个或那个区域空间中的存在必要——包括上述一系列特定条件的回应。公共艺术的生成与存在，是以环境——文化环境、社会环境、空间环境为舞台的，因此，一件作品的产生是与其产生环境的历史形成与发展、区域的社会色彩、人群的文化生活及环境的视觉结构有着互相依赖的关系，体现为一种互动式的构成。正如现象学学说所揭示的那样，空间环境被视为许多有意义的领域圈，如是一个由地域、生态、人种、文脉、民俗等关系组成的“圈”。无疑作为一个特定的群聚区域环境中的公共艺术，应有其与区域构成独特联系的、内在的表达方式，有其精神意义或象征意义上的视觉指向，最终获得人群的某种认同感乃至归属感。

人的视觉心理习惯总是选择性地对某个区域的人文景观留下深刻的印象。……