别现代:未定与将是

Bie-Modern:the Now and the Not Yet and Will Be of Zhuyi

在这篇论文中我会将一些由王建疆教授提出的重要概念应用到当代艺术家曹斐的作品上,并以此对这些概念做出回应。过去五十年来出现在西方思想中的批判性自我审视赋予了现代主义观念去完成其未竟主张的使命,而这种自我审视是不容忽视的。已经形成自己传统的后现代主义批评必须贯穿于我们对于"真现代"之观念所作的任何假定之中。这篇论文将以提出一些"圈套"(pitfalls)做结,而这些"圈套"可能会对王建疆教授希望在艺术与文化中所促成的"现代"之形式提出警示。此外,我还会在文中讨论别现代主义的"现在与未定"性,它"是什么"以及当"伪"现代变为"真"现代时我们希望它"将是什么"。借鉴赫伯特·马尔库塞对"审美之维"的处理以及他关于激变乃"植根于个体的主观性之中"的论述,我们可以在曹斐对于身份(自我)的运用中——这种运用既是时间性的又是虚拟性的——看到一种从"别"(伪)现代转变为"别"(真)现代的别现代欲望。②.

In this paper I will respond to some of the major concepts proposed by Professor Wang Jianjiang by applying them to the work of the contemporary artist Cao Fei.While the observations and proactive call for a fresh and transformative progressive modernism within Chinese culture is admirable I will also question some of the assumptions he has made about western modernism and modernization that are clearly seen through rose colored glasses.The critical self-examination that has been taking place in western thought over the past 50 years by holding modernist assumptions to task for its unfulfilled claims can’t be overlooked.The Postmodern critique which now forms its own tradition must inform any assumptions we make about ideas about what is"truelly modern".This paper will conclude with suggestions of pitfalls which may derail the form of"modern"Professor Wang hopes to promote in art and culture.I will also discuss the"now and the not yet"quality of Bie-modernism,the"what is"and what we hope"will be"as the"Psuedo"modern becomes"real".Through Herbert Marcuse’s treatment of the"Aesthetic Dimension"and his claim that radical change is"rooted in the subjectivity of individuals themselves"we can see in Cao Fei’s use of identity(self)both temporal and virtual as the Bie-modern desire to move from the"Bie"(Pseudo)modern to the"Bie"(Real)modern.