景育民

跨界·拓展
——公共藝術(shù)教育學(xué)科思考

景育民

編者按：景育民將“寫意雕塑”當(dāng)作其雕塑核心，多年來在藝術(shù)形態(tài)上不斷探索，在材料語言上不斷實(shí)踐，在當(dāng)代藝術(shù)語境與觀念中，不斷吸納傳統(tǒng)文化資源，探尋具有當(dāng)代文化精神與全新理念的藝術(shù)呈現(xiàn)方式。他早期的作品多是對自我生存狀態(tài)的視覺審視，而近些年來，他致力于轉(zhuǎn)換、改變材料，并在觀念性上尋求突破。不僅如此，他還積極推動公共藝術(shù)教育教學(xué)的建構(gòu)，試圖在都市文化發(fā)展過程中，不斷梳理、調(diào)整、修正一套完整的、具有實(shí)踐意義的教育體系。

Editor’s note:Jing Yumin takes freestyle sculpture as his central idea of creation. For years, he has been exploring art forms, and experimenting on material languages. In search of artistic presentation approaches consistent with the contemporary cultural spirit and new ideas, he keeps absorbing traditional cultural sources into the context and concepts of contemporary art. His early works are like a visual examination of people’s own living condition; however, in recent years, he has been devoted to converting and altering materials, trying to seek conceptual breakthroughs. Moreover, he actively promotes public art teaching and education, trying to trim, adjust and revise a complete educational system with practical significance in the process of urban cultural development.

一、公共藝術(shù)學(xué)科教育的新階段

公共藝術(shù)是一個不斷變化的、動態(tài)的概念，它的內(nèi)在精神與外在形態(tài)被時代信息不斷改寫、完善。當(dāng)下中國當(dāng)代公共藝術(shù)的發(fā)展，已經(jīng)呈現(xiàn)出越來越多的后現(xiàn)代趨向，首先表現(xiàn)在形態(tài)上更加趨向于綜合性、跨類型、多元化的特征，由傳統(tǒng)的類型化藝術(shù)進(jìn)入“泛藝術(shù)”的概念，并由此衍生出眾多體現(xiàn)時代表征的新藝術(shù)類型；藝術(shù)的社會化轉(zhuǎn)型特征日益明顯，與社會生活之間的聯(lián)系愈發(fā)緊密，藝術(shù)成果更多地進(jìn)入公共文化空間。在此發(fā)展背景下，作為推進(jìn)中國城市化進(jìn)程的應(yīng)用型新學(xué)科，公共藝術(shù)學(xué)科教育經(jīng)歷了過去十多年的探索與發(fā)展，在眾多的理論學(xué)者、藝術(shù)家、學(xué)科教育踐行者的共同努力下，已經(jīng)走出了初期的困惑與探索階段，并逐步摸索出了一條適應(yīng)中國公共文化發(fā)展需求、具備獨(dú)立文化態(tài)度與專業(yè)特色的發(fā)展道路。公共藝術(shù)學(xué)科概念被不斷地深化與完善，學(xué)科教育更加注重合理性、獨(dú)立性、綜合性，并向著系統(tǒng)化、專業(yè)化教學(xué)模式延伸，相關(guān)的教學(xué)、科研方面的學(xué)術(shù)交流平臺明顯增多。同時，面對社會公共文化意識的不斷提升，公共藝術(shù)理論與實(shí)踐的不斷推進(jìn)，以及對公共藝術(shù)專業(yè)結(jié)構(gòu)與綜合性人才結(jié)構(gòu)的需求，學(xué)科教育自身也面臨著發(fā)展轉(zhuǎn)型階段的諸多新課題。許多高等院校的公共藝術(shù)專業(yè)院系，對各自的學(xué)科特色、學(xué)術(shù)定位、發(fā)展方向形成了越來越成熟的認(rèn)知與思考，比較有代表性的如中央美術(shù)學(xué)院城市設(shè)計(jì)學(xué)院、中國美術(shù)學(xué)院的公共藝術(shù)學(xué)院、汕頭大學(xué)長江藝術(shù)與設(shè)計(jì)學(xué)院公共藝術(shù)專業(yè)、南京藝術(shù)學(xué)院設(shè)計(jì)學(xué)院公共藝術(shù)專業(yè)、江南大學(xué)設(shè)計(jì)學(xué)院公共藝術(shù)專業(yè)等。

景育民 行囊—長白山站Jing Yumin, Travelling Bag, exhibited in Changbai Mountain

景育民 行囊—平潭站Jing Yumin, Travelling Bag, exhibited in Pingtan

I. New Phase of Public Art Education

景育民 第七屆全國城市運(yùn)動會主火炬塔 綜合材料 高60米 獲中國環(huán)境藝術(shù)最佳范例獎Jing Yumin, Cauldron of the 7th National City Games, mixed media, 60 meters high, Award of Best Practices of Environmental Art of China

景育民 行囊——長春站Jing Yumin, Travelling Bag, exhibited in Changchun

Public art is an ever-changing and dynamic concept, its internal spirit and external shape being constantly altered and improved by the era’s information. Currently, the development of Chinese contemporary public art has demonstrated a growing post-modern tendency. Firstly, the art form, which has evolved from traditional categorized art to “pan arts”, tends to be more integrating, trans-category and diversified, and therefore a great number of new art categories bearing certain characteristics of ourera have been evolved. As the socialization of art has become increasingly obvious and art is connected with social life more closely, an increasing number of art works have entered into public cultural space. In this situation, after more than a decade of exploration and development, the discipline of public art, as a new applied subject to promote the process of urbanization in China, has overcome the confusion of the preliminary exploratory stage, and gradually found out a way of development with an independent cultural attitude and professional features and meeting the demand of China’s public art development because of the joint efforts of theoreticians, artists and educators. The concept of the discipline of public art has been constantly deepened and perfected, leading the teaching of this discipline to a systematic and professional teaching mode and making it more rational, independent and integrated; as a result, more platforms for academic exchange in teaching and research have appeared. Meanwhile, in face of the constant improvement of social public cultural awareness, the continuous progress of public art theories and practice and the growing demand for a professional structure and all-round talents of public art, public art education itself is challenged by many new problems in the stage of development and transition. The schools or departments of public art in many universities and colleges, such as School of Urban Design of Central Academy of Fine Arts, School of Public Art of China Academy of Art, the major of public art of Cheung Kong School of Art & Design, Shantou University, the major of public art of School of Design, Nanjing University of the Arts, and the major of public art of School of Design, Jiangnan University, have developed their more mature perception of their respective discipline characteristics, academic positioning and development direction.

二、學(xué)科跨界：公共藝術(shù)學(xué)科教育發(fā)展的思考

近年來，“跨界”在當(dāng)代藝術(shù)中成為一個耳熟能詳?shù)脑~，不僅是在不同的學(xué)科之間，設(shè)計(jì)界、藝術(shù)界乃至?xí)r尚界諸多跨領(lǐng)域的跨界合作亦是日趨頻繁，“跨界”這一命題更是成為各種相關(guān)講座、論壇、展覽、會議中的熱題。隨著當(dāng)代公共藝術(shù)逐漸向廣義概念延伸與拓展，公共藝術(shù)也在“跨界”中不斷尋求發(fā)展變化，進(jìn)而實(shí)現(xiàn)著自我研究領(lǐng)域完善及其基本概念的再界定，以適應(yīng)飛速發(fā)展的時代需求。公共藝術(shù)的“跨界”所帶來的變化不僅體現(xiàn)在藝術(shù)實(shí)踐與理論研究上，作為學(xué)科發(fā)展重要的持續(xù)推動力——公共藝術(shù)學(xué)科教育也顯現(xiàn)出新的特征與趨勢，表現(xiàn)為：

（一）公共藝術(shù)與時代科技的成果對接與轉(zhuǎn)化結(jié)合日益密切，數(shù)字信息技術(shù)等新媒介方式的實(shí)驗(yàn)、應(yīng)用為公共藝術(shù)語言系統(tǒng)的拓展與形式創(chuàng)新提供了重要契機(jī)，針對新媒介、新材質(zhì)的研究成為公共藝術(shù)學(xué)科科研與教學(xué)的一個重要課題。

（二）公共藝術(shù)學(xué)科與社會學(xué)、環(huán)境學(xué)、文化學(xué)、生態(tài)學(xué)、材料學(xué)等眾多交叉學(xué)科之間的跨界研究增多，社會公共意識主導(dǎo)下的公共藝術(shù)進(jìn)入到更為廣義的文化概念，在此基礎(chǔ)上公共藝術(shù)學(xué)科教學(xué)呈現(xiàn)出趨向于多元化、多向度的公共文化領(lǐng)域的思考，并引發(fā)了藝術(shù)形態(tài)方面的一些美學(xué)新思維。

（三）隨著城市公共文化空間拓展、城市規(guī)劃的整體性思考以及面向時代、面向公眾的文化訴求，公共藝術(shù)學(xué)科教育作為城市公共文化重要孵化器與形式載體，與園林、建筑、音樂、表演、社會活動等其他領(lǐng)域之間的合作愈發(fā)密切，更為積極地拓展著公共藝術(shù)的內(nèi)涵及外延。

從藝術(shù)史的角度來看，當(dāng)代公共藝術(shù)已經(jīng)發(fā)展成為一個集合的概念，其藝術(shù)形態(tài)的流變也早已超越了傳統(tǒng)領(lǐng)域的認(rèn)知，覆蓋了壁畫、雕塑、景觀、建筑、水體、園藝、城市設(shè)施等傳統(tǒng)藝術(shù)手段，以及大地藝術(shù)、光電煙火、新媒體藝術(shù)、裝置藝術(shù)等新藝術(shù)形式，并涉及音樂、表演、公共節(jié)慶、行為藝術(shù)、廣場表演等暫時性的公共空間藝術(shù)活動。由此可見，作為多元城市文化形態(tài)的綜合性學(xué)科，公共藝術(shù)學(xué)科中的“跨界”便成為一種必然，也是這一階段性的重要特征。因此，本文從公共藝術(shù)學(xué)科教學(xué)的角度探討“跨媒介”“跨學(xué)科”“跨領(lǐng)域”的概念，也是天津美術(shù)學(xué)院公共藝術(shù)專業(yè)未來的學(xué)科特色與學(xué)術(shù)主張，希望在未來通過逐步的研究、深化、總結(jié)形成體系化的思考，體現(xiàn)在學(xué)院的教學(xué)實(shí)踐與科研當(dāng)中。

II. Interdisciplinary: Some Thoughts on the Development of Public Art Education

In recent years, the term “interdisciplinary” has become very familiar in contemporary art. “Interdisciplinary” cooperation has become increasingly frequent between not only different disciplines but also the fields of design, art and even fashion. “Interdisciplinary” is also a hot topic of various lectures, forums, exhibitions, and conferences. With the extension of the concept of public art to a broader sense, public art has been seeking development and changes while being “interdisciplinary”and tries to perfect its own research and redefine its basic concepts in order to meet the growing requirement of this era. The changes the“interdisciplinary” feature of public art has brought about are shown not only in artistic practice and theoretical study, but also in new features and tendencies of public art education as a continual propelling force of the disciplinary development, including:

1. Public art has increasingly absorbed and utilized new results of science and technology. The experiments and application of such newmedia approaches as digital information technology have provided an important opportunity for the exploration and formal innovation of the language system of public art. The research of new media and new materials has become an important subject of scientific research and education of public art disciplines.

2. Interdisciplinary researches between public art and sociology, environmental studies, science of culture, ecology and material science have increased. Public art dominated by social public awareness has become a cultural concept in a broader sense and, on this basis, public art education tends to be diversified and multi-dimensional, and has aroused some new aesthetic ideas.

3. As an important incubator and form carrier of urban public culture, public art education has cooperated more closely with other fields, such as gardening, architecture, music, performance and social activities, and is actively expanding the connotation and denotation of public art with the expansion of urban public cultural spaces, the comprehensive thinking on urban planning, and the cultural request in face of the era and its public.

“跨媒介”是當(dāng)下公共藝術(shù)發(fā)展的一個新特征，當(dāng)今科技的快速發(fā)展為公共藝術(shù)實(shí)現(xiàn)的“介質(zhì)”選擇提供了更廣闊的空間，也是學(xué)科未來發(fā)展的大勢所趨。新媒介的應(yīng)用，可以通過數(shù)字化技術(shù)精確控制諸如水、光、聲音乃至氣味等一些非固體的材料，也可以采用影像、多媒體裝置、互動感應(yīng)裝置、虛擬現(xiàn)實(shí)、網(wǎng)絡(luò)藝術(shù)等技術(shù)手段，實(shí)現(xiàn)科學(xué)技術(shù)與藝術(shù)的高度結(jié)合，創(chuàng)造更為豐富的新型表現(xiàn)形式。公共藝術(shù)的“跨媒介”現(xiàn)象早在上世紀(jì)末的歐洲、美國和日本，就出現(xiàn)過一些相關(guān)的展覽和事件。1980年光學(xué)工程師邁克爾·溫?fù)P（Michael Wenyon）和藝術(shù)家蘇珊·甘布爾（Susan Gamble）在倫敦大學(xué)金史密斯學(xué)院（Goldsmith，University of London）制作一臺全息設(shè)備，這是歐洲致力于研究光媒介的藝術(shù)應(yīng)用的第一個全息車間。英國藝術(shù)家烏斯曼·哈克（Usman Haque）采用計(jì)算機(jī)控制的交互式氣味系統(tǒng)創(chuàng)作作品《空間·氣味》等。2013年5月的第五屆悉尼燈光音樂節(jié)上的活力悉尼燈光單元，藝術(shù)家布賴恩·伊諾（Brian Eno）利用全息影像技術(shù)點(diǎn)亮悉尼歌劇院，將悉尼歌劇院的標(biāo)志性船帆變成一塊畫布——《7700萬件畫作》。這件作品結(jié)合音樂，通過“自生成軟件”控制 300 幅原創(chuàng)數(shù)字繪畫作品生成，體現(xiàn)了聲、光、色的交融。2015年，雕塑家呂品昌創(chuàng)作的作品《鄱湖日出》，將雕塑造型與交互性新媒體藝術(shù)相結(jié)合，使雕塑審美意義超越了舊有的語言范式而轉(zhuǎn)化為信息的載體，實(shí)現(xiàn)了傳統(tǒng)“空間”概念向虛擬的拓展。這件作品是在城市雕塑領(lǐng)域?qū)π旅浇檫\(yùn)用的實(shí)驗(yàn)探索，為公共藝術(shù)學(xué)科教學(xué)提供了很有價(jià)值的范例。2014年，中國美院畢業(yè)季“馬上火”成為一場全城矚目的藝術(shù)狂歡，“火車”主題裝置開幕式、“美術(shù)館之夜”音樂秀、服裝秀與前沿性藝術(shù)展覽的同臺呈現(xiàn)，不僅樹立了學(xué)院的文化品牌與公共形象，更呈現(xiàn)了當(dāng)代美術(shù)學(xué)院教育的開放式文化態(tài)度，為城市增添了一個文化熱題。

公共藝術(shù)的“跨學(xué)科”，是當(dāng)代社會公共文化發(fā)展到現(xiàn)階段的必然現(xiàn)象。由西方社會意識形態(tài)下衍生出的公共藝術(shù)概念發(fā)展至今，已經(jīng)涵蓋了社會學(xué)、文化學(xué)、政治學(xué)、規(guī)劃學(xué)、傳播學(xué)、生態(tài)學(xué)等眾多相關(guān)學(xué)科的知識。在當(dāng)代多元文化背景下的公共藝術(shù)學(xué)科，也不僅限于對藝術(shù)本體的研究，而是進(jìn)入到公共文化層面的整體性思考。因此，基于社會公共意識發(fā)展下的人文關(guān)懷，以及當(dāng)代公共藝術(shù)概念拓展，公共藝術(shù)創(chuàng)作在理念與方法論上也呈現(xiàn)出“跨學(xué)科”的研究趨勢，主要表現(xiàn)為對社會學(xué)、環(huán)境學(xué)、生態(tài)學(xué)、策劃學(xué)等一些交叉學(xué)科的結(jié)合與借鑒。隨著當(dāng)代社會對公共文化意識認(rèn)知的普及性發(fā)展，公共藝術(shù)開始走出城市命題轉(zhuǎn)向農(nóng)村，以藝術(shù)修復(fù)、構(gòu)建公共空間文化的鄉(xiāng)村新形態(tài)，開啟兼具社會、生態(tài)、人文、歷史等多重文化價(jià)值的嶄新課題。目前，國內(nèi)外已經(jīng)有一些這方面的藝術(shù)實(shí)踐：日本的“越后妻有”地區(qū)于2000—2009年間舉辦四屆公共藝術(shù)節(jié)，邀請了眾多國際藝術(shù)家、藝術(shù)團(tuán)體進(jìn)行實(shí)地創(chuàng)作，以實(shí)驗(yàn)性空間藝術(shù)平臺的介入方式實(shí)現(xiàn)鄉(xiāng)村文化改造，成為國際學(xué)術(shù)界知名案例；由中國當(dāng)代藝術(shù)家渠巖主導(dǎo)啟動的公共藝術(shù)項(xiàng)目“許村計(jì)劃”以“原住村落與建筑規(guī)劃”為核心，力求實(shí)現(xiàn)以藝術(shù)復(fù)興村落，從而進(jìn)入到對中國式農(nóng)村文化當(dāng)代生存與轉(zhuǎn)型的社會學(xué)、政治學(xué)層面的探討；2012年，藝術(shù)家焦興濤在貴州省遵義的羊磴鎮(zhèn)發(fā)起了“羊磴藝術(shù)合作社”系列藝術(shù)實(shí)踐項(xiàng)目，聚焦當(dāng)?shù)氐娜宋娘L(fēng)物、生活百態(tài)，以全方位的角度深入調(diào)研農(nóng)村的文化形態(tài)，以體驗(yàn)式創(chuàng)作、互動、改造等方式實(shí)現(xiàn)藝術(shù)的鄉(xiāng)村“落地”。在具有6億多農(nóng)業(yè)人口的中國，公共藝術(shù)的“鄉(xiāng)村課題”在當(dāng)下乃至未來都具有重要的本土意義與研究空間。

From the perspective of art history, contemporary public art has become a collective concept, and its art form has long evolved beyond traditional areas, covering both such traditional art mediums as wall painting, sculpture, landscape, architecture, water body, gardening, urban facilities, and such new art forms as land art, photoelectric fireworks, new media art, installation art, and involving such temporary public space art activities as music, performance, public festivals, performance art and square performance. This shows that the “interdisciplinary” feature is a necessity in public art as a comprehensive discipline reflecting diversified urban culture, and is also an important character of its current phase of development. Therefore, “cross-media”, “interdisciplinary” and “crossfield”, with their concepts discussed in this paper from the angle of public art education, are also the future disciplinary characteristics and academic standpoints of the public art major of Tianjin Academy of Fine Arts. It is hoped that these features will be systemized through gradually research, deepening and summarizing, and embodied in the teaching practice and scientific research of the academy.

“Cross-media” is a new feature of the present development of public art. Today, the rapid development of science and technology has provided public art with more possibilities of choice of “medium”, which is also an irresistible trend of future development of the discipline. The application of new media leads to a high degree of integration of science and technology with art and the creation of new and more verified forms of expression either through the precise control of non-solid materials such as water, light, sound and even odor by way of digital technology or through some technological methods including videos, multimedia devices, interactive induction systems, virtual reality and Internet art. The “cross-media” phenomenon of public art already appeared in some exhibitions and events in Europe, the USA and Japan in the late 20th century. In 1980, Michael Wenyon, an optical engineer, and Susan Gamble, an artist, made a holographic equipment in Goldsmith School, University of London, which was the first holographic workshop in Europe devoted to the research on the application of optical medium to art. Usman Haque, a British artist, created a work titledSpace and Odorby means of an interactive odor system controlled by computer. In May 2013, at the 5th Vivid Sydney, Brian Eno, an artist, lit up Sydney Opera House using holographic imaging technology and turned the symbolic sails of the opera house into a canvas, creating a work titled77 Million Paintings. Combined with music, this work controlled the generation of 300 original digital paintings through a self-generated software, showing the integration of sound, light and color. In 2015, Lü Pinchang, a sculptor, created a work titledSunrise in Poyang Lake, combining sculpture modeling and interactive new-media art. InSunrise in Poyang Lake, an experiment of new media application in the field of urban sculpture, the aesthetic significance of the work exceeded the normal form of language and was translated into a carrier of information, realizing the expansion of the traditional term of “space” to a virtual world and making itself a valuable case for public art education as well. In 2014, “Get Popular at Once”, the graduation season of China Academy of Art, became an art carnival and drew the attention of the city. The concentrated presentation of the opening ceremony of the theme installation “Train”, the music show “A Night in the Gallery”, the fashion show and the pioneering art exhibition not only helped build up the cultural brand and public image of the Academy, but also revealed an open cultural attitude of contemporary education of a fine art academy, adding a new hot topic to the city culture.

The “interdisciplinary” feature of public art is inevitable in the present stage of development of contemporary social public culture. Today, the concept of public art, derived from the ideology of Western society, covers the knowledge of different disciplines, such as sociology, cultural studies, political science, planning, communication and ecology. The discipline of public art, in the contemporary multicultural context, is not restricted to the study of art itself, but involves the comprehensive thinking on public culture. Therefore, on the basis of humane care inthe context of growing social public awareness and the expansion of the concept of contemporary public art, public art creation has witnessed an “interdisciplinary” tendency in terms of ideas and methodology. This tendency is demonstrated in the combination of public art with such disciplines as sociology, environment science, ecology and planning studies, and its use of them for reference. With the increasing understanding of public culture in contemporary society, public art, once focused on urban topics, has started to turn to rural subjects in an attempt to restore and construct new rural forms of public spatial culture by means of art, and set foot on new issues with multicultural value including society, ecology, humanity and history. At present, some similar artistic practices exist both at home and abroad. During the four public art festivals held in Echigo Tsumari, Japan, from 2000 to 2009, many international artists and art groups were invited for on-the-spot creation, aiming at transforming rural culture through the intervention from experimental space art platform, which has become a well-known case in international academic circles. The public art project titled “Xucun Program” launched by the Chinese contemporary artist Qu Yan, with“original village and the planning of building” as its core, was targeted at revitalizing a village through art so as to conduct a discussion on the subsistence and transformation of Chinese rural culture in contemporary times from the perspectives of sociology and political science. In 2012, Jiao Xingtao, an artist, launched a serial art project titled “Yangdeng Art Cooperative” in Yangdeng Town, Zunyi of Guizhou Province, focusing on the local people and scenery as well as social life to investigate rural cultural types in an in-depth and all-round manner and to realize the“l(fā)anding” of art in villages by means of experience-oriented creation, interaction and transformation. In China, a country with an agricultural population of over 600 million, the “rural topic” of public art has local significance and research space at present and even in the future.

景育民 《對接·啟程》全景一 綜合材料 長50米 2012 作品曾獲得第一屆中國公共藝術(shù)學(xué)術(shù)獎Jing Yumin,Docking and Setting Out, full view, mixed media, 50 meters long, 2012, the 1st Chinese Public Art Academic Award

在后現(xiàn)代美學(xué)的影響下，公共藝術(shù)作為當(dāng)代城市文化形態(tài)建構(gòu)的重要方式，“跨領(lǐng)域”的思維與嘗試層出不窮，與建筑、音樂、表演等不同領(lǐng)域文化形態(tài)的跨界結(jié)合增多。1997年，美國加州建筑師弗蘭克·蓋里（Frank O. Gehry）設(shè)計(jì)的畢爾巴鄂古根海姆博物館正式落成。這是一座借助一套v空氣動力學(xué)使用的電腦軟件逐步設(shè)計(jì)而成的博物館，使用玻璃、鋼和石灰?guī)r、鈦金屬為材質(zhì)，構(gòu)成感的空間分割以及流動韻律的線條，使這座建筑成為該城市最著名的公共藝術(shù)案例?！翱扉W”（flash mob）是近年來國際上流行的一種公眾行為藝術(shù)，指一群人在預(yù)先約定的地點(diǎn)集合，進(jìn)行簡短活動后迅速解散。這是丹麥哥本哈根愛樂樂團(tuán)在哥本哈根中央車站的一次古典音樂“快閃”，曲目是著名的《波萊羅舞曲》。美國攝影師斯潘塞·圖尼克（Spencer Tunick）的天體藝術(shù)攝影，多年來通過記錄系列性的公眾行為藝術(shù)的方式，不斷探討人與現(xiàn)代文明、自然三者之間的對話。

景育民 消息樹 不銹鋼、棕繩、小銅鐘 2000年Jing Yumin, Message Trees, stainless steel, coir ropes, small copper bells, 2000

Influenced by postmodernist aesthetics, public art, as an important mode of structuring contemporary urban cultural types, has been closely connected with “cross-field” thoughts and attempts demonstrated by its increasing interdisciplinary integration with architecture, music and performance. In 1997, Guggenheim Museum Bilbao, designed by Frank O. Gehry, an American architect from California, was completed. The museum was designed little by little with the assistance of a computer software used normally in v aerodynamics. Materials like glass, steel, limestone and titanium were used, and unique space division and flowing lines made the museum the most famous public art case in the city. “Flash mob” is a form of public performance art popular around the world in recent years. It refers to a group of people who assemble suddenly ina place appointed beforehand and quickly disperse after completing a brief activity. The Copenhagen Philharmonic Orchestra of Denmark playedBoleroat a classic music flash mob in the Copenhagen Central Station. Over the years, by recording a series of public performance art, the American photographer Spencer Tunick, through his photography of Nudism Movement, has kept exploring the conversation between human beings, modern civilization and Nature.

三、公共藝術(shù)的專業(yè)定位與發(fā)展方向

天津美術(shù)學(xué)院的公共藝術(shù)專業(yè)，主要定位于城市公共空間文化形態(tài)的研究與設(shè)計(jì)，將學(xué)科重點(diǎn)放在公共空間策劃與設(shè)計(jì)、公共藝術(shù)實(shí)驗(yàn)性創(chuàng)作以及公共藝術(shù)理論研究這幾方面。未來的學(xué)院教學(xué)將以“跨媒介、跨學(xué)科、跨領(lǐng)域”作為專業(yè)特色，并采取“雙向化”的教學(xué)思維，一方面實(shí)現(xiàn)藝術(shù)實(shí)踐與理論研究上的實(shí)驗(yàn)性探索，推動學(xué)術(shù)研究的前沿性與持續(xù)性；另一方面，強(qiáng)調(diào)科研教學(xué)與社會實(shí)踐的結(jié)合，促進(jìn)教育成果的社會化轉(zhuǎn)型，以實(shí)現(xiàn)培養(yǎng)具有公共文化意識、綜合性專業(yè)素質(zhì)與社會實(shí)踐能力人才的辦學(xué)定位，其中，幾個主要的發(fā)展方向是：

1.公共空間（環(huán)境）策劃與設(shè)計(jì)

2.新媒介與裝置藝術(shù)

3.城市環(huán)境雕塑（造型）設(shè)計(jì)

公共空間（環(huán)境）策劃與設(shè)計(jì)專業(yè)，以公共空間形態(tài)設(shè)計(jì)與策劃、城市形象研究與設(shè)計(jì)、公共藝術(shù)策劃與理論研究為主要內(nèi)容。專業(yè)以城市學(xué)、策劃學(xué)、傳播學(xué)、環(huán)境學(xué)、生態(tài)學(xué)以及與公共藝術(shù)相關(guān)的文化學(xué)、社會學(xué)理論為學(xué)科基礎(chǔ)，基于對城市空間文化的整體思考，主要研究公共空間的文化形態(tài)、環(huán)境美學(xué)、場所意義、形象表達(dá)、公共藝術(shù)項(xiàng)目設(shè)計(jì)與實(shí)施等一系列系統(tǒng)化實(shí)踐。在課程設(shè)置上主要包括公共空間分析與策劃、城市空間形態(tài)設(shè)計(jì)、城市文化形象設(shè)計(jì)與傳播、社會實(shí)踐項(xiàng)目創(chuàng)意與設(shè)計(jì)、公共藝術(shù)活動與文本策劃、公共藝術(shù)理論研究等。

景育民 夢幻新舟 高21米Jing Yumin, Fantastic New Boat, 21 meters high

景育民 飄浮 不銹鋼 10米Jing Yumin, Floating, stainless steel, 10 meters high

III. Professional Orientation and Development Direction of Public Art

The public art major of Tianjin Academy of Fine Arts is mainly oriented to the research and design of cultural forms of urban public spaces. The emphasis of the discipline falls on public space planning and design, experimental public art creation and public art theory. In the future, “cross-media, interdisciplinary, and cross-field” will be taken as the feature of the major, and a “two-way” teaching idea will be adopted. On the one hand, the experimental exploration of artistic practice and theoretical studies will be conducted to enhance the pioneering nature and continuity of academic research; on the other hand, emphasis will be put on the combination of research and teaching with social practice and the social applicability of educational achievements in order to cultivate talents with public culture awareness, comprehensive professional competence and social practice ability. Currently, we have set up three major fields:

1. Public space (environment) planning and design

2. New media and installation art

3. Urban environment sculpture (modeling) design

新媒介與裝置藝術(shù)專業(yè)，是以當(dāng)代新型空間藝術(shù)形態(tài)——裝置藝術(shù)設(shè)計(jì)與創(chuàng)作為主要內(nèi)容，專業(yè)定位于公共空間裝置藝術(shù)的空間實(shí)踐、材料應(yīng)用與理論研究。該專業(yè)作為獨(dú)立的空間藝術(shù)學(xué)科，強(qiáng)調(diào)學(xué)術(shù)前沿性與社會實(shí)用性的結(jié)合。專業(yè)以當(dāng)代造型語言研究、材料媒介研究與空間理論為基礎(chǔ)，主要包括實(shí)驗(yàn)性裝置藝術(shù)研究、環(huán)境裝置藝術(shù)設(shè)計(jì)、應(yīng)用型裝置藝術(shù)設(shè)計(jì)三個研究方向。實(shí)驗(yàn)性裝置藝術(shù)主要是從跨媒介材料語言拓展與空間意義研究、觀念造型語言研究、空間形態(tài)的多樣化方面實(shí)現(xiàn)創(chuàng)新性研究。環(huán)境裝置藝術(shù)設(shè)計(jì)與應(yīng)用型裝置藝術(shù)設(shè)計(jì)主要側(cè)重于社會性需求與公共空間的實(shí)用價(jià)值研究。

城市環(huán)境雕塑（造型）設(shè)計(jì)，作為與城市文化之間關(guān)系最為直接的專業(yè)，主要是針對公共空間中城市環(huán)境雕塑設(shè)計(jì)與實(shí)施，是傳統(tǒng)城市雕塑的當(dāng)代轉(zhuǎn)型。該專業(yè)以公共空間理論、城市雕塑造型研究為基礎(chǔ)，以城市公共空間設(shè)計(jì)、城市環(huán)境策劃、城市公共設(shè)施設(shè)計(jì)、藝術(shù)工程為主導(dǎo)方向，強(qiáng)調(diào)教學(xué)成果與社會實(shí)踐的相互轉(zhuǎn)化。

另外，我們還計(jì)劃開展一些公共藝術(shù)的專項(xiàng)課題實(shí)踐，以及學(xué)術(shù)交流與教學(xué)經(jīng)驗(yàn)交流活動，一方面以交流積累經(jīng)驗(yàn)，推動學(xué)院自身的成長；另一方面分享展示學(xué)院的教學(xué)與科研成果，擴(kuò)大學(xué)院在業(yè)界的學(xué)術(shù)影響力，創(chuàng)建體現(xiàn)學(xué)科特色的學(xué)術(shù)品牌。在這方面我們也可以借鑒其他兄弟院校的優(yōu)秀經(jīng)驗(yàn)：汕頭大學(xué)公共藝術(shù)專業(yè)相繼創(chuàng)立了“公共藝術(shù)節(jié)”“公共藝術(shù)專業(yè)年度展”，成為國內(nèi)公共藝術(shù)領(lǐng)域的品牌活動；四川美院公共藝術(shù)學(xué)院舉辦的2015年首屆“公共藝術(shù)教育國際工坊”，引進(jìn)國際公共藝術(shù)成功案例，邀請國際知名藝術(shù)家、學(xué)者通過講座、交流與互動教學(xué)的方式，拓展學(xué)科發(fā)展的國際化視野。我們將在探索的過程中不斷調(diào)整、修正、提高，也希望在未來能夠更多地與國內(nèi)外學(xué)術(shù)界與院校、機(jī)構(gòu)相互交流，共同拓展。

景育民：天津美術(shù)學(xué)院教授

Based on urbanology, planning studies, communication, environmental science, ecology, and public art-related cultural studies and sociological theories, the major of public space (environment) planning and design mainly focuses on public space planning and design, city image study and design and public art planning and theoretical research. On the basis of an overall thinking on urban space culture, it mainly studies cultural forms, environmental aesthetics, location significance, image expression, and the design and execution of public art projects. Its curriculum includes mainly public space analysis and planning, urban space form design, city image design and communication, social practice project creation and design, public art activities and text planning, and public art theories, etc.

The major of new media and installation art takes the new form of contemporary space art - installation art design and creation - as main content, and is oriented to spatial practice, material application and theoretical studies of public space installation art. As an independent space art discipline, the major stresses the combination of academic progressiveness and social applicability. Based on contemporary modeling language research, material and media research and space theory, the major involves three research directions, namely, experimental installation art research, environmental installation art design, and applied installation art design. Experimental installation art focuses on innovative research, involving cross-media material language expansion and space concept research, conceptual modeling language research, and diversification of space forms. Environmental installation art design and applied installation art design place particular emphasis on research on the social demand and practical value of public space.

Urban environment sculpture (modeling) design, as a major most related to urban culture, focuses on design and execution of urban environment sculpture in public spaces, embodying contemporary transformation of traditional urban sculpture. This major, taking public space theories and urban sculpture modeling research as its foundation and urban public space design, urban environment planning, urban public facilities design and artistic engineering as its predominating direction, stresses the mutual transformation of teaching results and social practice.

In addition, we plan to launch some specific public art projects as well as academic and teaching experience exchanges with the purpose of promoting the development of our academy by accumulation experience through these exchanges on the one hand, and, on the other, sharing and demonstrating teaching and research results of our academy, which may help to expand the influence of our academy in the professional circles and create an academic brand that may reflect our subject characteristics. We may, in this regard, draw on the successful experiences of other institutions of higher education. The public art major of Shantou University has launched the “public art festival” and the “annual exhibition of public art”, which have become brand activities in the field of public art in China. The first “International Public Art Education Workshop” held at the School of Public Art of Sichuan Academy of Fine Arts in 2015 broadened the international horizon of the subject development of the school by introducing successful cases of public art around the world and inviting well-known foreign artists and scholars for lectures, exchanges and interactive teaching. We will constantly adjust, revise and improve our approaches in the process of exploration, and we hope for more exchanges with domestic and foreign academia, colleges, universities and institutions for common development.

Jing Yumin: professor at Tianjin Academy of Fine Arts

Interdisciplinary and Expansion : Thinking on Public Art Education

Jing Yumin