Research On The Phenomenon Of "Consumption" And "Generation" In Installation Art

The "consumption" and "generation" in installation art involve the expression of time and concepts,as well as the selection and presentation of media materials.The language approach presented during the creative process is also a means of applying media to the generation of ideas.Consumption and generation have become a pair of contradictory relationships and symbiotic prerequisites that are interrelated in the creation of installation art.But this phenomenon often seems to be "ignored" by the public,and studying the internal evolution of installation art works with this characteristic is actually seeking answers to the key factors connecting installation art and human existence patterns.This article attempts to analyze the case of "consumption" from George Bataye’s broad definition of "productive consumption" to the art creation centered around "non productive consumption".On the one hand,it aims to differentiate and analyze the generation path of its new aesthetic mechanism from the sorting out of "time" and "concept" to the analysis of "object" as a medium.On the other hand,starting from phenomena and art cases,this study investigates how contemporary artists face the concept of "consumption" in their works and generate new transformative forces through the condensation of "consumption" phenomena,awakening people’s self-awareness and perception ability at the conceptual level.This is a field of practice that is full of wit.In a sense,it is abandoning the category of "formal representation" in modern art and turning to the concepts of "consumption" and "generation" that are interrelated,in order to extend its philosophical speculation and changes in aesthetic order.Similarly,this is not only a retrospective analysis of installation art,but also a question of how art creators should face the paradox of objective reality and artistic processing in the context of rapidly consuming contemporary art.This is actually a further questioning of the ways in which "things" and people exist.This article first provides a brief overview of the origin and context of installation art in the abstract,and at the same time,a comprehensive review of the research status of relevant literature at home and abroad is conducted to sort out literature from both theoretical and practical perspectives,analyzing its significance and shortcomings.The first chapter studies the concepts of "consumption" and "generation",as well as their concepts in installation art,through a sequential deconstruction from what Bataye referred to as the "destined lost part"-"consumption" to Deleuze’s "generation".Here,’consumption’ implies questioning the autonomy of life and the separation of people and things,providing us with an opportunity to rethink the existence and essence of things.At the same time,’generation’ also implies a new opportunity for survival and its new vitality in terms of formation and concept.The second and third chapters focus on studying the relationship between "consumption" and "generation" in installation art cases,which is also the core chapter of this article.We hope to conduct in-depth analysis of the actual cases of "consumption" and "generation" in installation art works.On the one hand,we will evaluate and analyze the "consumption" phenomenon from three aspects: time,concept,will,and time;On the other hand,through the application of "consumption" as a concept and form strategy in installation art cases,the liberation of "things" and "time" is generated,and the questioning of conceptual will and autonomy is pursued.Chapter 4 combines personal creative practice to analyze how"consumption",as a broad medium,gradually condenses and develops in the artistic concepts and language of works.At the same time,in the context of contemporary art,focusing on "consumption","change",and "rebirth.