生命政治时代的艺术:从艺术作品到艺术文献

Art in the Age of Biopolitics:From Artwork to Art Documentation

鲍里斯·格罗伊斯在这篇文章中探讨了艺术文献在现代艺术中的地位,以及装置艺术如何重新赋予本雅明所谓的“灵韵”(aura)。他认为,艺术文献并非传统意义上的艺术,而是涉及时间、持续性和生命的艺术活动。在生命政治时代,科技渗透生活与艺术,使人们无法区分自然与科学创造的现象,真实生命与人造生命之间的区别只能通过叙事确定。格罗伊斯提出,装置艺术能成为现代重塑灵韵的潜力所在,使观众成为“漫游者”并留给艺术文献一个位置。装置艺术既消除又恢复了灵韵,反映了现代社会在去疆域化、再疆域化、去灵韵化和再灵韵化方面的复杂性,与生命政治时代现实替换为人造模拟(如克隆)的趋势相呼应。

In this article,Boris Groys explores the position of art documentation in contemporary art and how installation art may potentially reintroduce the so-called“aura”as proposed by Walter Benjamin.Groys argues that art documentation is not art in the traditional sense,but rather an artistic activity that involves time,duration,and life.In the age of biopolitics,technology permeates both life and art,making it difficult to distinguish between natural and scientifically created phenomena,with the distinction between genuine life and artificial life being determined only through narrative.Groys proposes that installation art holds the potential to reshape the aura in the contemporary context,allowing the audience to become“wanderers”and leave a place for art documentation.Installation art both eliminates and restores the aura,reflecting the complexities of modern society in terms of deterritorialization,reterritorialization,de-auratization,and re-auratization,echoing the trend in the age of biopolitics where reality is replaced by artificial simulations(such as cloning).