危机与救渡:阿甘本对现代艺术的反思

Crisis and Salvation:Agamben's Reflection on Modern Art

阿甘本将现代社会的艺术危机界定为制作的危机。随着制作降格至建立在劳动基础上的实践,艺术生产进入了实践领域。制作的艺术变为实践的艺术,不可避免地美学化,艺术作品由对真理的生产双重化为审美判断与纯粹的创作原则,最终净化为没有内容的自我消除的无。作为制作危机的又一恶果,制作行为本身亦被双重化,原本共属于制作行为的技术与艺术活动走向分裂,其产物(技术制品和艺术作品)的统一状态被打破。并且在技术的促逼下,艺术内部出现分裂,一边是复制艺术,另一边是强调本真性的艺术作品,前者是工业产品,后者则进入了美学领域,成为审美对象。在此背景下,阿甘本赋予现成品、波普艺术救渡功能,认为二者是艺术作品与技术制品之间的界阈,既摆脱了技术制品的消费循环,又逃离了美学的宰制。

Agamben defined the artistic crisis of modern society as the crisis of poiesis.With the poiesis degrades into the praxis based on labor,artistic production enters the realm of praxis.Art as a poiesis becomes art as a praxis,which is inevitably aestheticized.Artwork doubles from the production of truth to aesthetic judgment and the pure creative principle,and ultimately purified into self-annihilating nothing without content.As another evil consequence of the poiesis crisis,poiesis itself is also dualized.The technical and artistic activities that originally belonged to the poiesis are divided,and the unity of their products(technical product and artwork)has been broken.In addition,under the urging of technology,there is a split within art,one is the reproduction of art,and the other is work of art emphasizing the authenticity.The former is industrial product,the latter enters the field of aesthetic and become an aesthetic object.In this context,Agamben assigns salvific function to the ready-made and pop art,considering the two as the threshold between artwork and technical product,escaping both the cycle of consumption of technical product and the dictatorship of aesthetic.