| This paper focuses on the sculpture projects in Munster,a medium-sized old city in Germany,and introduces its development history as a public sculpture festival from 1977 to today.Firstly,by comparing the slices of the first sculpture exhibition in 1977 and the fifth sculpture projects in 2017,we can draw a picture of the social changes in Europe in the 1960s and 1970s,and reposition the changes of the forms of public art and public sculpture exhibition in the capitalist transforma-tion from 1970s to today,as well as the changes of the functions of art in society.In the analysis of the causes of the Munster Sculpture projects,I hope that it can be traced back to the Left-wing political-aesthetic revolution which took place in the 1960s.According to the discus-sion of French philosopher Jacques Ranciere,the aesthetic revolution must be accompanied by the political revolution,and the political revolution also promotes the redistribution of the sensi-ble.So when we discuss the changes of western contemporary art:since 1960s the change from artistic object to artistic project has begun,and the Paradigmen of perception has changed from the dichotomy of subject and object to the interaction between subject and object.We are not al-lowed to forget that in Europe and Germany in the 1960s,corresponding changes have taken place in politics,that is,a demand for civil rights and political participation of citizens.Such polit-ical revolution has promoted the reform of political system in the 1970s after 1986 movement,that is,we are familiar with,so called the process of democratization in Europa.The political change from revolution to institutional reform is similar to the dramatic scene in the art revolution:the artistic revolution and the aesthetic criticism in the 1960s triggered the internal system reform of art galleries and museums in the 1970s.Through self-opening,the art institutes brought the "rebellious" avant-garde art into their system,and achieved a successful "enrollment".In Germany's democratic reform in the 1970s,public art and culture played a very important role in the process of reform,thus the re-positioning of the social functions of art and culture.The characteristics of the 1977 Munster Sculpture Projects lie in the site-specificity of the works,that is,the locality and the project.These two characteristics will also be observed in the structural transformation of Western capitalism from the late 1960s to the 1990s.French sociologist Luc Boltanski defined this transition as a paradigm shifting from welfare control to neoliberal capital-ism and from bureaucratic structure to project structure because of the institutional transforma-tion of capitalism that mass production has become differentiated production and mass consump-tion has become differentiated consumption.With the change of labor organization,bureaucracy has become a more flexible and horizontal project system to adapt to the uncertain and change-able consumer market.At the same time,there were drastic changes in art:the creation of self-dis-ciplined and autonomous artistic objects changed into more site-specific art projects,and the artis-tic creation of abstract grand themes turned to the artistic creation of individual and specific themes.From recent point of view,we can understand that the paradigm shifting of art is also in line with the structural shifting of politics and economy:the mass production is transformed into the differentiated production,customization and individualization.If the W estern Left Movement in the 1960s promoted the process of democratization in the 1970s,people could participate more in political decision-making and more equally in cultural and artis-tic activities.This liberation of individuality and respect for particularity have broken the tradi-tional hierarchy,led to the prosperity of the pluralistic consumer market,and also led to the for-mation of hedonism with individualism as the core-what German sociologist Gerhard Schultz called "experiential society".The project system with creativity and cross-border collaboration makes the autonomous modernist art exhibition gradually move towards a mixed project with po-litical,economic and cultural tasks.Art exhibition has become a carnival of art.On the one hand,it shows the characteristics of pluralism,on the other hand,it opens the era of individual hedo-nism.Entertainment has become the priority number one.Public art and sculpture festivals have begun to flourish everywhere.They are combined with urban and rural rrenewal,tourism remodel-ing,real estate value-added,mass culture and entertainment consumption.This also makes it eas-ier for us to understand why the conservative and boycott attitude of the people of Munster to-wards the sculpture exhibition in 1977 has gradually changed into an open celebration 40 years later.This aesthetic transformation is also based on the globalization of a cultural economy and lifestyle.It pretends to respect the locality while eliminating conservative locality and turning it into a product of creative cultural economy.If the 1977 Munster Aesthetic Enlightenment Exhibition is a kind of ideological emancipation.Isn't the consumption liberation caused by ideological emancipation precious experience of Chi-na's reform and opening up since 1978?... |
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