动漫美学，新世纪的审美态度和趋势The New Century of the Neo-Aesthetics in the Animamix Art

抽象美学在上一世纪初兴起之后，已达百年之久，当代艺术的现况，从上一世纪末，便处于多元而分解的状态，是否在进入新世纪会迎接另一种新的美学运动呢？在我多年来搜寻艺术新方向的过程中，注意到全球各地都有一些艺术家似乎在审美的角度上共同选择了漫画、卡通、动画一类作品的表现手法，俨然形成一股新的美学趋势，我将之统称为“动漫美学(Animamix)”。Will modern art, as it enters a new century, usher in a new kind of aesthetics movement?In my search, I noticed that all over the world there are artists who seem to have a shared preference for using comics, cartoons and animation as their tools of expression. Slowly they are forming a new art trend, I called it “Animamix”.

福建火山岛-美人鱼精  2014  数字影像  尺寸可变

其实，动画和漫画，在英文里是分开的两个字，可是在当代中文的语境中，却常常被合为“动漫”一词，却无法在英文里找到对应的翻译。于是我将“animation”和“comics”两字，取其发音的头尾合而为一，构成一个自创字“Animamix”，表述当今这股“动漫美学”的发展趋势。

Animation and comics are two different words in English, but in contemporary Chinese, they are quite often used together. Hence I have combined “animation” and “comics” to create “Animamix” as the name for this new development in art.

火山岛—火龙果  2014  数字影像  尺寸可变

2009年上映的《阿凡达》3D动画电影在世界各地获得了惊人的票房收入，说明了一种属于动漫美学的审美观，获得广大群众的认同。我认为《阿凡达》3D动画电影将成为人类文明的一个新的分野岭，在《阿凡达》之前，虚拟和实境是两个不相属的状态，相对或相背的两种概念；然而在《阿凡达》之后，虚拟与实境是无法切割或分离的，两者在生活中随机交错进行。

The 3D animated film "Avatar" released in 2009 achieved astonishing box office revenue around the world, indicating that this aesthetic concept belonging to Animamix has gained recognition from the general public. I believe that the 3D animated film "Avatar" will become a new watershed for human civilization. Before "Avatar", virtual and reality were two separate states, relative or contradictory concepts; However, after Avatar, virtual and reality cannot be cut or separated, and the two are randomly intertwined in daily life.

火山岛—树精  2014  数字影像  尺寸可变

大量的虚拟实境，随着数位科技发展，分分秒秒出现在电视、电脑、手机等各种各样的萤幕上，经过简化的视觉造型，形成更加复杂的型式，透过更加多元化的流通管道，构成大量传输的视觉符号系统，渐渐形成各种文化背景和区域性之间能够越界去沟通、彼此认同的个别系统。动漫美学化的图像符号，更像是追求个人表现、传达意念或发挥想像力的再创造的沟通途径。

With the development of digital technology, a large amount of virtual reality appears minute by minute on various screens such as televisions, computers, and mobile phones. Through simplified visual forms, more complex forms are formed, and through more diversified circulation channels, a large number of visual symbol systems are formed, gradually forming individual systems that can communicate and identify with each other across cultural backgrounds and regions. The image symbol of Animamix is more like a communication channel for the pursuit of personal expression, the transmission of ideas or the recreation of imagination.

火山岛—叶子精  2014  数字影像  尺寸可变

所以，动漫美学的艺术，指的不是动画或漫画的本身。动漫美学的艺术，是一种新的视觉语言，一种面对新世纪审美态度的全面化概念。新世纪动漫新美学的特征表现在四个方向：一是青春美学的膜拜；二是动漫美学中丰富的叙事性文本；三是动画中的色光艺术；四是动漫产业所带动的跨界协作，带动创意产业巨大的产值。

So, the Animamix art does not refer to the animation or manga itself. The Animamix art is a new visual language and a comprehensive concept of aesthetic attitudes towards the new century. The characteristics of the ultra-new vision of 21st Century Animamix are displayed in four directions: first, The Worship of Youth Aesthetics; second, Animamix art is full of strange and changeable narrative texts; third, Colorful Light Art in animation; and fourth, The cross-border cooperation driven by the animation industry has driven the huge output value of the creative industry.

完美的一对系列之一  2003-2019  数字影像  尺寸可变

在大众流行文化中如浪潮般推涌的大量、多样化的动漫形象，不论是人物的还是动物的造型，都是永远不会衰老的形体，这种对青春不老的影像的集体记忆，在潜移默化当中，形成了21世纪新世代所崇尚的青春美学，不仅在创作上形成巨大的影响，更深刻地影响了大众的审美观念。追求理想化的青春美，不仅是动画、卡通、漫画里，虚拟角色塑造的问题，而且它已成为现实人生中，实现人工理想美的心理因素。如今一发不可收拾的抗老、反老的趋势，造成愈来愈多人想要保有青春不老的容颜和躯体，不分男女都找得到走进手术室里追求人工造型美，以便永保青春的理由。

The abundant diversified Animamix images in popular culture, whether human figures or animal characters, are all forms that will never glow old. The Animamix Age’s collective memory of ageless images, under subtle influences, has formed the aesthetics of youth in the new age of the 21st century. The last 100 years have not only greatly influenced creation, but also deeply affected the aesthetic concept of the public. The pursuit of an idealized beauty of youth is no longer the problem of the characterization of virtual figures in animations, cartoons or comics. Instead, it has become the psychological goal to realize the beauty of artificial ideals in real life. Today, because of the irresistible trend of anti-aging, more and more people want to keep a young and ageless appearance. Man or woman, old or young, can all find a reason to walk into surgery.

完美的一对系列之二  2003-2019  数字影像  尺寸可变

动漫美学中充满了千奇百怪变化、无比丰富的叙事性文本，使得图像呈现的本身，就具有强烈的叙事性格。在21世纪数位化的环境里，文字叙述的转换，变得更为多元、有趣，愈来愈多的资讯，透过图像化的语言，来沟通和交流彼此的意念。卡通动漫作品里面，拟人化的造型，以及配合故事的叙事性，所形成夸张的变形美学，会在本世纪形成视觉造型美学的新主流，就像抽象艺术主导了20世纪的美学一般。动漫美学艺术里丰富的叙事性文本，结合视觉图像语言的大反扑，正是动漫美学艺术的第二种重要特征。

The aesthetics of Animamix art was full of strange and changeable narrative texts that gave the display of images themselves a strong narrative character. Yet under the digitalized environment of the 21st century, the changes to the narrative environment have become even more interesting. More and more information will be communicated and exchanged via imaged language. The personified characters in cartoons, animations and comics, and the exaggerated aesthetics of transformation evolved as a result of combining with narration, and thus will become the mainstream of the aesthetics of characterization in this century--just as Abstract Art lead the aesthetics of the 20th century. The rich narrative texts in the aesthetics of Animamix art, combined with the great attack of visual image language, are precisely the second important feature of the aesthetics of Animamix art.

完美一对系列之三  2003-2019  数字影像  尺寸可变

从上一世纪中期开始，电子媒体作为影像传播的载体，彩色光线在空间里释放、流动、充满，是一种等同用画笔沾染颜料在画布上作画的表现方式。新世纪里的人类共同经验，不分人种、国籍的孩子们，都几乎是在电视机前面和电脑前面成长的。他们接受到的资讯，所看到的影像，都是由光电所构成的色光视觉经验。这类由色光所形成的绚丽美学，对于艺术家创作的色彩运用，具有非常深远的影响。色光的艺术，在这个世纪会更加强发展。这种亮丽、多彩的色光视觉效果，也是21世纪动漫艺术新美学的特征之一

In the last century, electric media acted as the media of image broadcasting. Colorful lights are released as sounds flow and abound in space. This is a means of expression that equals the way of painting with pigment on canvas. The common experience of humans in this new century is that children of different races and different nations all grow up in front of the television and the computer. The information they receive, the images they see, are usually visual experiences of colored lights formed by electricity. Such a florid aesthetics of colored lights has a very deep influence on artists’ usage of color in their works. The art of Colorful lights will develop even more in this century. Such marvelous colorful visual effects are one of the distinct features of this Ultra New Vision.

完美一对系列之四  2003-2019 数字影像  尺寸可变

有别于传统的个人艺术创作，动漫艺术的完成，往往需要团队整合以及专业分工的多重交迭的合作，因而必需动员庞大的人力、物力与财力，不像是传统的艺术创作者，可以在一个封闭的工作室里独立完成。因此，跨领域的产业整合，是动漫艺术的特殊现象，动漫产业的产值，不仅在于动漫艺术的本身，而是一个时代文化力量相加的总体。未来的艺术家将以创意总监的身份，走出纯艺术、高艺术的象牙塔，进行跨领域的资源整合。艺术的创作与行销，将是全球性的创意产业中的重要一环，这类艺术创作和大众流行文化之间，不再存在高、低的位阶之分

While traditional art creation can be independently finished in a small workshop, the formation of Animamix art often needs professional division of labor and a team spirit, which always involves a great amount of human, material and financial resources. Therefore, cross-industry integration is a unique phenomenon of Animamix culture. So, the value of Animamix industry is not just in the Animamix art itself. It is a summary of the culture force in one age. Future artists will step out of the ivory tower of pure art as creative directors to integrate resources across fields. The creation and marketing of art will be an important part of the global creative industry, and there will no longer be a high or low distinction between this kind of art and popular culture.

完美一对系列之五  2003-2019 数字影像  尺寸可变

动漫美学的艺术，是超越艺术的艺术，是超越了时间性的时间，是空间之外的空间，是超越人生的生命。动漫美学的艺术，是一种记录我们在虚拟实境中所创造第三人生的艺术，同时也是存在于所有电子媒体和数位世界的第四度空间，是青春不败，岁月无痕的不老神话。文/ 陆蓉之 2012年It is a kind of art beyond art, time beyond time, space beyond space, and life beyond life. Animamix Art is a brand of art that is recording our creations of third life in virtual realities and existing in the fourth dimension of all electronic and digital worlds.Text / Victoria Lu, 2012

完美一对系列之六  2003-2019 数字影像  尺寸可变

1951  出生于台湾

1971  赴比利时就读于布鲁塞尔皇家艺术学院

1999  策划台湾当代艺术大展“复数元的视野”

2007  出任北京月亮河当代艺术馆馆长

2011  策划第54届威尼斯双年展平行展

2017  萌奶奶天团参加威尼斯双年展平行展

现任台北实践大学创意产业博士班教授、博士生导师

Victoria Lu

1951 Born in Taiwan

1971 Went to Belgium to study at the Royal Academy of Arts in Brussels

1999 Curated Taiwan Contemporary Art Exhibition "The Vision of Plural Yuan"

2007 Served as director of the Moon River Museum of Contemporary Art in Beijing

2011 Curated the 54th Venice Biennale Parallel Exhibition

2017 Super M MAA participated in the Venice Biennale Parallel Exhibition

Currently a professor and doctoral supervisor of the Creative Industry Doctoral Program at Taipei Shiyan University