Beyond The Physical

Recently，Installation Art has been an important style of art. This paperreviews the evolution of Installation Art and its development in China. In this base,this paper indicates that in China although in the 1980s the Installation Art paidstress on language experiment, pursued cultural criticalness and emphasizedphilosophizing statement while that of the 1990s paid more attention to a vanwardstandpoint of culture and shaping the identity of Chinese culture, InstallationArtists of both 1980s and 1990s mainly succeed to Marcel Duchamp who realizes doublecritique of art structure and traditional culture while they ignore the continueddevelopment following to Clement Greenberg who emphasizes the property of medium.Compared with western avant- garde, Contemporary Chinese art is short of a traditionthat queries and challenges essence of art. For Chinese artists, they should takeMartin Heidegger’s aesthetics of Existence as theoretical frame to resurvey theuse of“material”in Installation Art. Meanwhile, the artists should concern theirwork’s content in survival experience which exists as Chinese’s individualsubsistent; then they should improve their sense of material and style, increasetheir expressive force in formal and visual level to establish their own languagesystem and methodology and finally realize their transcendence.