In recent years, China's tendency to localize installation art creation has become more and more prominent. Now, the reconstruction of the parent-child relationship of the traditional Chinese family has become a kind of creative pursuit of Chinese contemporary installation art. Then how to better integrate the changes in the parent-child relationship of traditional Chinese families into contemporary installation art has become an eternal question. Changing topics. First of all, let me explain that this article mainly explains the changes in the parent-child relationship under the traditional Chinese family concept through installation art. China's traditional culture contains rich cultural heritage. It is an inexhaustible source of art for both Western and Chinese installation artists. In the traditional Chinese concept, the primary purpose of marriage is to "carry on the family line and procreate heirs." The famous philosopher Zhou Guoping once said: "Without children, the family is at best a love game that is a little too serious. With children, the family has its own substance and career." The parent-child relationship is the core of the family relationship. The parent-child relationship under China’s traditional family concept is summarized in a Chinese saying:

If there is no close communication as a father and there are many rules that require children to obey, then his father can kill his son without feeling guilty, and the harmonious atmosphere of the family will be broken. If a husband does not respect love and justice and requires his wife to obey many rules, then he can kill his wife without feeling guilty, and the custom of love and respect between husband and wife will be broken [He, Hu 1994].

In the patriarchal family ethics system based on Confucianism, the continuation of lineage has "ontological value": "The fundamental purpose of maintaining the life of the 'living together and sharing wealth' family unit is the continuation of the vertical family structure." [Gui 2014]. This determines the individual's Meaning in family life and place in family structure. On the one hand, carrying on the family line through childbirth is the basic way for the value of individual life to be realized in the family, which is the so-called "there are three types of unfilial piety, and the greatest is not having offspring." On the other hand, as a link in the lineage, an individual's material life is not owned by himself, but belongs to the "lineage" that goes back to his ancestors and down to his descendants. In the family, parents (especially fathers), as the personification of the "clan", have actual ownership of the material lives of their children, which is the so-called "At the beginning of filial piety, the hair, skin, and body that I got from my parents did not dare to damage them." [Hu 1996], also That is to say, the basis of "filial piety" lies in the "kindness" of parents. The story of Nezha in ancient mythology is a vivid illustration of this concept at the cultural level. Nezha had a disembowelment, cut out the intestines, removed the bones, and returned the flesh to his parents to show that he had terminated the parent-child relationship with Li Jing and his wife. Taiyi Zhenren believed that Nezha had repaid his parents' flesh and blood and should no longer be under Li Jing's jurisdiction. Therefore, Li Jing destroyed Nezha's palace, which aroused his dissatisfaction [Chen 1567]. It can be seen that Nezha's "termination of the contract" behavior can be recognized by the social group where he belongs. At the institutional level, the laws of China's patriarchal autocratic societies of all dynasties have expressly stipulated that parents enjoy absolute power over their children's personal lives, property, and marriage [Zhai 2010]. In this context, the New Culture Movement proposed that parents are ungrateful to their children. On the surface, it was aimed at the power of parents over their children, but in essence it was a new interpretation of reproductive behavior. Until now, the family parent-child relationship has undergone great changes compared to before. They trust, respect, give in to, respect and love each other. In fact, changes in the value and significance of the parent-child relationship itself will naturally lead to changes in behavioral norms and moral principles between generations. Reconstructing the meaning and value of the parent-child relationship is also where the "new" and "changed" family ethics of the New Culture Movement lie.

The aesthetic characteristics of installation art are expressed in questioning and transcending traditional art. Mainly manifested in: the trinity of artistic activities of the artist's design, the self-sufficiency of the work, and the audience's participation; transcending art and the objective world; social participation, reflection, and criticism; the interpretation of meaning transcends the ambiguity of limited life images; art and Reconciliation of the double opposition of the audience, etc. Installation art often adopts daily necessities and industrial products and is connected with the images of popular life; it has acquired the dual character of popularization and aristocracy by questioning and transcending the images of popular life [Xiao 2012]. However, installation art also has the negative possibility of being lifelike, low-taste, and non-artistic. Therefore, moving towards depth and culture and ending superficiality is the correct direction for Chinese contemporary installation art as a conceptual art. If the mountains are not high, there will be immortals. If the water is not deep, there will be dragons. No matter how profound the connotation or sophisticated the creation, a work of art cannot be separated from the real society and the artist's unique background of life, so that it can have its own right to speak in art [Liu 2013].

South Korean sculptor and installation artist Do Ho Suh believes that the concept of "home" is worth repeating forever (Ill.1). The experience of transnational immigration allows him to collide with different cultures across borders, find his own position in a strange culture, and carry out the next step of exploration, recognition of identity and homeland. The concept of "home" appears repeatedly in his fiber installations, and daily household items have become one of the most important elements in his artistic creation. He said: "Home is something that stays with you throughout your life. At some point in your life, you have to leave your home. No matter when you go back, it is no longer the same home. So I talk about the theme of 'home' It’s a theme worth repeating.” Why Home? What does "home" mean to us? The ever-changing living environment also forces artists to constantly separate themselves from the familiar living environment and plunge into new environments. The post-separation past is changing, and so are people themselves [Wang 2011]. Therefore, we will find that even if we return to the hometown where we grew up when we grow up, we cannot avoid the discomfort caused by cultural differences. Perhaps, home is "the most familiar stranger". Therefore, he drew inspiration from the homes He has lived in New York, Seoul, Berlin and London, making door handles, lamps, refrigerators, bathtubs and other common items in domestic life out of fiber materials into well-proportioned pieces.

Various artistic means are used in installation art, which is an inevitable product of the pursuit of depth, breadth and intensity in the development process of modern art. In terms of exhibitions, many installation arts were initially exhibited in informal settings. At the same time, installation art also opposes the use of ivory towers in art museums to separate life and art. It directly enters people's lives and achieves civilianization. Judging from the overall characteristics of installation art, it is mainly reflected in the following aspects. First, installation art is a three-dimensional space environment that allows the audience to be in it. This environment only refers to indoor space [Chen 2011]. Secondly, installation art is a kind of art as a whole, which is mainly designed by artists according to specific exhibition locations and spaces. The integrity of the installation requires that the space be independent of each other and that it cannot be affected by other works in both visual and auditory aspects. Next, installation art emphasizes the intervention and participation of the audience. Since installation art is an extension of people's life experience, the intervention of the audience is the main content of installation art. Finally, the environment created by installation art mainly plays a role in containing the audience. This art form can promote the audience to transform passive appreciation of art into a form of active experience of art in a specific environment.

The rise of installation art has also produced more artists, and is accompanied by the emergence of many representative works of art. Some artists create installation art by appealing to social ideas. Influenced by their families, many artists associate their creations with family parent-child relationships. A representative figure who creates art in such an environment is the American artist Merill Comeau, who is good at using knitting art to express his views on his original family. By deconstructing and reorganizing various fabrics, Comeau's works also include her thoughts on the role of contemporary women - social division of labor, mother's responsibilities, and how to be a "good daughter." Most of the installation works by Yin Xiuzhen, a leading female figure in China's contemporary art world, such as the work "Unbearable Warmth", connect 1,000 old scarves and roll them into a huge circle, expressing their love for children with scarves that symbolize warmth. Reflection on giving excessive care [Sun 2015]. For another example, the installation "Loneliness" directly uses her daughter's children's shoes to make an article: when the air flows, the tubular fabric strips will swing back and forth with the children's shoes, drawing lines on the sand on the floor, thus metaphorizing the living conditions of an only child. . Artist Sophie Carr advocates for domestic violence through her Installation Égalité. She conveyed her condemnation and appeal against domestic violence through sheets covered with pink gloves. Patrick Bergersban cleverly intertwined ceramic fragments with the traditional Chinese bonsai art, combining broken bonsai with plants to show new Vitality, presented in an imperfect perfection, is more like a metaphor for escaping from the original family.

As an inheritor of the "1985 New Wave", Xu Bing stayed away from the booming art craze and entered his own "New Culture" movement. He began to dismantle and reconstruct traditional Chinese culture. As the backbone of Chinese modern art, he explores and expresses his understanding and thinking about the world through his printmaking and installation art, as well as the creative art use of language, words and texts. Xu Bing creates works based on a relatively macro-narrative tone. This kind of repetition and plurality is really a kind of power and a language that only printmaking can have. The prints with "repetition" as the core language are quite simple and cute. At the same time, Xu Bing, as a returnee from overseas, cleverly borrowed the differences between Chinese and Western cultures and the realistic context of the fringes to conduct experimental research between Chinese and Western cultures and arts. Therefore, Xu Bing's reconstruction of traditional cultural symbols not only continues the essence of traditional culture but also reflects on traditional culture, thereby showing inheritance, innovation, avant-garde, and seemingly "meaningless" constructions. Xu Bing's installation art works use traditional culture as his artistic symbol, which is inseparable from the background of the times, life experience and artistic career (Ill. 2). This is what my work today draws on.

Fabienne Verdier is a rare painter in contemporary Europe who creates in the form of calligraphy. She is also a rare artist today who admires Chinese culture, especially Chinese painting and calligraphy, and has studied art in China for decades. She has an in-depth study of Chinese painting and calligraphy art, and an in-depth understanding of the art of calligraphy and painting, especially the unique strokes, rhythm and rhythm of Chinese calligraphy art. She has integrated Chinese and Western cultures and immersed herself in the inner spiritual consciousness of the East. It’s also a great reference for me.

The concept of "ethics" in the history of philosophy has two connotations from its own development and evolution: one is the meaning of human life and ultimate care, and the other is human behavior and behavioral norms. The former is about values, the latter is about norms. In this sense, family ethics also has dual connotations: one is the value and significance of the family itself, and the other is the behavioral norms and moral standards among family members. Traditional Chinese families focus on intergenerational relationships, and "gratitude" and "filial piety" used to describe parent-child relationships are undoubtedly key words in Chinese family ethics. "En" points to the level of meaning and value, describing the essence of the parent-child relationship; "filial piety" is a kind of behavior, which is more towards the level of norms and principles.

My work this time is an exploration and tribute to the traditional Chinese family concept. While encouraging the continuation of excellent traditions, it also carries the courage of each generation of young people to break through the shackles of family. The work is divided into two layers. The first layer is made of white light fabric. Under the white light fabric, there is also a layer of formal text content. This content is derived from the restraints and family laws in traditional Chinese families from ancient times to the present. There are four pages inside the work. The content ranges from oracle bone inscriptions, bronze inscriptions, bamboo slips and cursive writing. The evolution of these characters corresponds to important turning points in family, culture, social transformation and political changes in Chinese history. These characters are the most representative of the essence but the dross. etc., using a relatively soft medium such as cloth to write content to break through the constraints of family rules that are engraved on the walls of ancestral halls or written in genealogies to spur each generation of descendants. The old feudal family rules and the unequal relationship between parents and children but I want to have a twisted state of closeness that blood relatives should have. I linked the relationship between parents and children with a seemingly strong bond like hemp rope. If you look at these four works separately, they are one line after all. , are also fragile, but when these four works are combined into one and intertwined, they will also have unlimited resilience, potential and the cohesion brought by family. Therefore, my work is divided into four strips in the form of areas, making it a The two modes of viewing and reflection, as a whole, are metaphors that express the yearning for a healthy family and the harm to a sustainable family of origin. There is an old saying in China: "It is difficult for an upright official to deal with household affairs." Parents have supreme control over the handling of household chores and the education of their children, but children are also independent individuals with their own thoughts and judgments, but they do not Will be recognized or even ignored by parents, forming a tangled complex of wanting to escape from the family but unable to let go of family affection and longing. Not only in China but even in the entire East Asia, family relationships are often like a fragile and heavy old book, which changes every generation. Neglected. The relationship between parent and child is separated by an impenetrable wall where flesh and blood are incompatible.

For most people, words are sacred, and starting from the text itself to explain the work will make the work more obscure. Therefore, I choose to ignore the connotation of the text and capture things other than text information, which can even become embellishments of the work. It will lose its function, which is why I prefer to use text to extend it and apply it to my works.

Today's children live in a lucky era. This era has more opportunities, a better learning environment, and a more stable and prosperous life than the era their ancestors lived. However, this era has put forward higher and more stringent requirements for them. They not only face the challenges of ever-changing scientific and technological knowledge, but also face the challenges of their own psychological abilities. They must have good psychological qualities, especially the ability to withstand The test of competition and frustration.

 

References

1. Chen Meilan. 2011. ‘On installation art from the perspective of art anthropology’, Theoretical Circle, 03.

2. Chen Zhonglin, 1567, The Romance of the Gods, 12,13,14. China (Ming Dynasty).

3. Gui Hua, 2014, Etiquette and Life Value - Morality, Religion and Law in Family Life, Commercial Press. Shanghai.

4. Hu Pingsheng, 1996, Translation and Annotation of Xiao Jing, Zhonghua Book Company, Beijing.

5. He Qi, Hu Liyuan, 1994, The True Interpretation of the New Deal - Collection of He Qi and Hu Liyuan, Liaoning People's Publishing House, Liaoning.

6. Zhai Tongzu, 2010, Chinese Law and Chinese Society, Commercial Press, Shanghai.

7. Liu Hangyu, 2013, ‘Research on the aesthetic experience of interactive digital media interactive installation art between technology and art’, Chengdu: Sichuan Normal University.

8. Sun Ting, 2015, ‘Research on the application of installation art in advertising creation’, Shenyang: Liaoning Normal University.

9. Wang Chuanpin, 2011, ‘The inspiration of installation art on sculpture creation’, Beauty and Times, Mid-term, 07.

10. Xiao Yuan, 2012, ‘The concept of installation art and its presentation methods’, Journal of South China Agricultural University (Social Science Edition), 03.