物与艺术本体——当代激进左翼美学对艺术本体论的探索

Objects and Ontology of Art:Contemporary Radical Left Aesthetics’Exploration of the Ontology of Art

20世纪60年代波普艺术、"现成品"等给美学家带来了理论上的困惑,即普通物品与艺术品的区别何在。阿瑟·丹托等延续艺术摹仿论的思路,在比较普通物与器物、艺术品之间的相似度中辨认出艺术包含超过物自身的东西,即有意味存在其中,但不明究竟为何物。与此同时,作为激进左翼美学家的阿甘本和齐泽克也思考了工业品介入艺术领域以及艺术本体论问题。齐泽克认为普通物所以成为艺术品,是因为其背后存在某种神圣的艺术本体之物,即大写的物(Thing)。大写的艺术之物并不存在,只是不同的客体对象占据了神圣物的位置,而呈现了不同艺术形式。阿甘本则从制作/诗(ποíησι!)与生产形态的角度辨析了工业物品与艺术品的本源性差异,他认为艺术品是保有存在并让事物绽放真理的形式。激进左翼美学对艺术本体论问题另辟蹊径的思考,为今天思考艺术何为提供了新的启发。

In the 1960 s,Pop art and"ready-made"brought theoretical confusion to aestheticians,i.e.,what difference between commonplace and artw orks is.Arthur Danto and others continue the thinking of art mimetic theory,identifying that art contains something beyond the object itself,that is,there is meaning in it,but it is not clear what exactly it is.At the same time,Agamben and?i?ek,as radical left-wing Aestheticians,also thinks about the involvement of industrial objects in the field of art and the ontology of art.?i?ek argues that commonplace becomes w ork of art because there is a sacred artistic ontology behind it,that is,the Thing.The Thing of art does not exist,but different objects occupy the place of the sacred object and take on different artistic forms.Agamben,on the other hand,identifies the ontological difference between industrial objects and artw orks in terms of poetry(ποíησιV)and forms of production.He argues that artw orks are forms that retain existence and make things reveal truth.The radical left aesthetics’reflections on the ontological question of art provide a newinspiration which has provided newinspiration for thinking about what art is today.