论德里达对阿尔托“支撑基底”(subjectile)概念的演绎及其意义

On Derrida’s Interpretation of Artaud’s Concept of“Subjectile”and Its Significance

在德里达看来,阿尔托在其中晚期有关素描的思想中重新激活了“支撑基底”这一古老的概念,以此对既有的素描原则和艺术规范进行抵抗和更新。这一古老的概念有着语源学、艺术史学、阿尔托文本以及哲学这四个维度的来源。德里达通过演绎充实了这一概念的内涵,使其有着六个方面的意谓:艺术及艺术作品的前提;同时具有“可传递性”与“不可传递性”的供以抛投的平台;既有艺术形式与规则的根基;上与下之间空无化的间隔;如“khora”般的接受器;让事物出生的场地。同时他也通过对这个词语中包含的“被抛”与“抛投”的双重性而将其与海德格尔那里“此在”的“被抛境况”联系在了一起。借助德里达对于这一概念的演绎,可以看到阿尔托的素描实践与思想能够帮助我们对当代艺术理论中所涉及的问题有着更为深刻的认识,这其中包括书写与素描的一体关系,既不走向抽象又不走向具象的绘画方向以及以反艺术的方式而进行的艺术实践,对艺术、艺术作品、艺术史所进行的批判性反思。

In Derrida’s view,Artaud reactivated the ancient concept of“subjectile”in order to resist and update the drawing principles and artistic norms.This ancient concept has four dimensions in terms of sources:etymology,art history,Artaud’s text,and philosophy.While Artaud’s expression of this concept is ambiguous,Derrida enriches the connotation of this concept through deduction,which has the following six aspects:1,the premises of art and art works;2,the platform for casting which at the same time has“intransitivity”and“transitivity”;3,the foundation of art form and rules;4,a solidified interval between above and below;5,“khora”-like receptors;and 6,places for things to be born.At the same time,he also linked Artaud’s thoughts on drawing with Heidegger’s“throwness”of“Dasein”by the duality of“thrown”and“throwing”contained in this word.With Derrida’s interpretation of this concept,we can see that Artaud’s sketch practice and thought can help give us a deeper understanding of the issues involved in contemporary art theory,including the integration of writing and sketching,a kind of painting which is neither abstractive nor figurative,doing artistic practice in an anti-artistic manner,and a critical reflection on art,art works,art history.