Talking About The Reflexive Phenomenon Of The Aesthetics

Since the establishment of the Fluxus in 1961,the surf has been a part of the post-modern art group,and its loose and unstable organization is one of the most influential groups of art history since Dada.Most people have not seen it have a lasting and far-reaching social influence.In terms of name and textual information,the Fluxus is not as loud and full as Dada or Pop Art;as a rebel of art history,its anti-art,The anti-commercial art concept also came from Dada.Its real value lies in the development of art in the form of “destruction” in the development of art.This historical process is also the victory of modern and post-modern art.At this time,when Verssi is identified as a "shallow aesthetic" decoration,glamorous aesthetics,the textual value of the Fluxus reflects how to complete the aesthetic evolution.In contrast to Welsch's views on aesthetic generalization,it points to the application of the media and the manufacture of images.This view has repeatedly corresponded with art history at home and abroad and has become the coordinate system of postmodern art.However,it is rare for us to pay attention to the artistic scene behind the "anti-art" in the artistic background of the era and the historical scene in the context of aesthetic life.The aesthetic logic behind this "anti-art" is what we should pay attention to.The fragment corresponds to the context of today.And this set of logic has many different changes in China's localization.We should pay attention to the differences,such as the difference between Xiamen Dada and the Fluxus,and so on.Then we can go further and explore how to develop Chinese contemporary art and contemporary aesthetics.