建构情境与反资本主义文化体制:情境主义国际的前卫艺术实践

Construction of Situations and Anti-Capitalist Cultural System:The Situationist International's Avant-garde Art Practice

情境主义国际是20世纪五六十年代法国的一个极为重要的政治—艺术运动。虽然它对后世的贡献主要在于其对政治的介入和对社会的批判,比如揭露新型资本主义社会形态的"景观社会"理论,但其政治思想统筹下的艺术实践与观念仍然具有重要的研究价值。情境主义国际的艺术实践是德波的景观社会批判理论的一个理想实践。通过他们的前卫活动,情境的建构和真正的交流才得以实现,而以图像为中介、以表征系统为运作模式且遮蔽现实和真正欲望的景观暂时被瓦解。在这个过程中,艺术不能以与社会相脱离的姿态单独出现,它必须作为革命运动的一部分融入社会生活的实践,从而实现艺术的超越。

The Situationist International in France was an extremely important political - art movement in the 1950s and 1960s. It inherited the daily life of critical theory developed from Marxism by Henry Lefebvre, and was inextricably linked with the Frankfurt School＇s criticism of popular culture. Although its contribution to future generations mainly lies in its intervention in politics and social criticism, such as the theory of ＂society of the spectacle＂ exposing the new form of capitalist society, but its art practices and concepts under the aegis of political ideology are of great research value. Although Chinese academics have made a great deal of translation of the social critical theories of situational international in recent years, our under- standing of the artistic thoughts of this movement is extremely inadequate. As the idealization of Debord＇s theory of ＂society of the spectacle＂, the artistic practice of the Situationist International facilitate construction of situations and communication in the real sense while the false situations with images as media and superficial characterization shielding reality and true desires from sight, in which process arts could not stand alone but be a part of life and realize its transcendence. This paper attempts to proceed from Jorn＇s ＂d e tournement＂ painting, Constant＇s ＂New Babylon＂ architecture and Gallizio＇s ＂industrial painting＂, to conduct a preliminary study of the artistic practices and ideas of the Situationist International.