论杜尚《泉》的先锋性

On Pioneer Spirit of Duchamp's Fountain

2004年的"特纳奖"评选中,杜尚的《泉》一举击败毕加索的《亚威农少女》和安迪·沃霍尔的《玛丽莲·梦露》,成为二十世纪最具影响力的作品。于是,被奉为艺术品的小便池便成为众矢之的,关于它的评论纷至沓来。"对传统艺术观念的彻底否定","是对艺术界限的一种挑战,打破了艺术与日常生活的界限",亦或是"提出了一种观看艺术的全新视角"等等。以上均为可取,但是杜尚《泉》真正意义上的先锋性却在于它所直接呈现出的物感的开启,并且将其与生活世界相互交融,成为现代性危机背景下感性解放潮流的一部分。因此,本文力图在阐释《泉》的先锋意义基础上突出"物感"探索这一视角,并进一步说明其对于克服现代性危机所具有的意义。

In the selection of Turner Prize of 2004, Duchamp＇ s Fountain beat Picasso＇ s Avignon Maiden and Andy Warhol ＇s Marilyn Monroe and became the most influential work in the 20th century. Thereafter, the urinal taken as an artwork has become the goal of people＇s criticism. The comments concerning it have appeared one after another, just like a complete negation of the traditional artistic concept, a challenge against the artistic boundary and breaking of boundary between art and daily life, or even the proposition of complete new perspective of viewing an artwork. These comments are somewhat reasona- ble. However, the pioneer spirit of Duchamp＇s Fountain lies in the opening of matter sense it presents. Further, it is mingled with our life and has become a part of sensibility liberation tide under the background of modern crisis. Therefore, this paper has made an attempt to highlight the exploration of matter sense on basis of interpreting the pioneering significance of Fountain and explained the meaning for overcoming the modern crisis.