《收租院》:作为政治的主题公园

The Rent Collection Courtyard: Theme Park as Politics

大型群雕《收租院》与蔡国强的作品《威尼斯收租院》诞生在不同的时代,在此,原件与复制品的关系,已经跃出了文化工业的议题,进入到历史抗争的符号性生产之中。前者作为无产阶级文艺的典范,其悲剧性的命运脱轨在于,当初的抗争对象在如今成了抗争得以展示的条件,没有艺术资本的运作,就不会有《收租院》的主题公园及其衍生产品。艺术抵抗与政治革命作为非法的正义观,潜入《收租院》和《威尼斯收租院》的欲望游戏之中,真正的革命从未发生过。艺术符号作为革命的替代品,在真理幻像中获得暂时的满足。当代政治文化中的左翼致幻剂,使得《收租院》的魅影游荡在资本帝国,而革命的珍宝只能在政治诸众的手中得以幸存。

China＇ s contemporary large group sculpture Rent Collection Courtyard and Cai Guoqiang＇ s Venice＇ s Rent Collection Courtyard were created in a different time, and the relationship between the original and Cai＇ s work is an issue not merely of cultural industry but more of the symbolic production of history. The original group sculpture is an example of proletarian literature and art, and the tragic derailment of fate is that the object of contestation in the work has now turned into the condition for the exhibition of the work. That is, without the capital invested into the art work, there would not have been the theme park of Rent Collection Courtyard and its byproducts. Art resistance and political revolution functioning as illegitimate view of justice enters the game of desire in the works of Rent Collection Courtyard and Venice Rent Collection Courtyard, while real revolution has never taken place. Art symbols as a substitute of revolution attains temporary satisfaction in the illusion of truth. The Left - wing psychedelics in the contemporary political culture sets the phantom of Rent Collection Courtyard wandering in the capital empire, while the treasure of the revolution can survive in the hands of political multitudes only.