鲍伊:畸怪的神话——兼论鲍德里亚对鲍伊艺术创作的批评

Bowie: Strange Myth: On Baudrillard's Criticism of Bowie's Artistic Creation

意大利著名画家鲍伊堪称世界艺术江湖中的独行侠,深受鲍德里亚喜爱。鲍德里亚认为,鲍伊的艺术的主调是畸怪;他建构畸怪的方式,依然还是畸怪。简而言之,是以畸怪建构畸怪。先是利用怪异的原料将恶转化为丑,然后再将丑转化为包含着残暴的滑稽。一方面,鲍伊既玩材料的游戏,也玩绘画的游戏,材料的垃圾性(包含了某种暴力性)和装配的随机性,使他的创作形成畸怪的特性;另一方面,在材料的垃圾化和制作手法的漫画化之间,鲍伊也顺汤下面地加入了某种笑料成分,因此,畸怪的制作手法也就加剧了绘画自身所内涵的畸怪容量。这两种东西既互相冲突撞击,又互相支撑生发,产生绝妙的联动效应。这大概是鲍伊能够成为受到鲍德里亚赞许的少数几位艺术家之一的原因。

Bowie,a famous Italian painter,is a lone ranger in the world's art world and is deeply loved by Baudrillard.Baudrillard believes that Bowie's main tone of art is grotesque.His way of constructing grotesque still remains grotesque.In short,the construction of grotesque is based on grotesque.First,we use weird raw materials to turn evil into ugliness,and then we turn ugliness into a farce containing cruelty.Bowie played both material and painting games.The garbage of materials (including some violence )and the randomness of assembly made his creation abnormal.On the other hand,between the rubbish of materials and the caricature of production techniques,Bowie also added some laughing material under the soup.Therefore,the production techniques of grotesque increase the grotesque capacity of the painting itself.These two kinds of things not only collide with each other,but also support each other for growth,resulting in a wonderful linkage effect.This is probably why Bowie became one of the few artists that Baldric praised.