语言、修辞与“历史的目光”:让·杜布菲“原生艺术”的概念书写及其言说困境

Language,Rhetoric,and the "Historical Gaze":Jean Dubuffet's Conceptual Writing of"Art Brut"and His Discursive Predicaments

原生艺术(Art Brut)作为界外者艺术、自学者艺术等非职业艺术类别的源头广为人知。但在身兼作家的画家让·杜布菲的笔下,它远非只是一种分类方法和抵抗立场,更是一个极为复杂的概念,蕴涵着关于视觉、语言和哲学等方面高度个人化的思考。然而,这样的复杂性实际上是20世纪法国文化的一个症状,是在语言对视觉持续贬损、忽略与“捕获”下产生的在论述图像时不自觉的“口吃”。为摆脱这些言说困境,达到使观者“原生艺术地观看”之目的,杜布菲最终在探索道路上触及视觉的修辞性维度。这一感知同时深刻塑造着他对自己的“观看”与书写,最终造就现代艺术史中的“杜布菲难题”。

Art Brut,widely recognized as the origin of outsider art,self-taught art,and other non-professional art categories,is far more than a method of classification and a stance of resistance in the hands of the"writer'painter"Jean Dubuffet.It represents a highly complex concept that encompasses deeply personal reflections on vision,language,and philosophy.However,this complexity is actually a symptom of 2oth-century French culture,which tends to"stammer"when discussing images due to the persistent devaluation,neglect,and"capture"of visuality by language.To escape these discursive predicaments and achieve the goal of enabling viewers to see"in an Art Brut way",Dubuffet ultimately touches upon the rhetorical dimension of visuality in his explorations.This perception profoundly shapes his own"seeing"and writing,culminating in the"Dubuffet dilemma"within modern art history.