自我否定、客观关系的去中心化和对自然的直觉:托马斯-阿尔特努尔梅和曹俊的艺术

IF 0.3 0 PHILOSOPHY
Marina Marren
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引用次数: 0

摘要

本文通过马丁-海德格尔、西格蒙德-弗洛伊德和亨利-柏格森的理论框架,分析了两位看似遥远的当代艺术家--托马斯-阿尔特努尔姆和曹俊--的艺术作品,阐释了他们的创作过程。在第 1 部分,我提出了并列研究阿尔特努尔姆和曹俊艺术的理由。在第 2 部分对阿尔特努尔姆艺术的讨论中,我认为他的创作过程体现了海德格尔的观点,即艺术家必须舍弃自我,他们的创作才能产生。在第 3 部分中,我阐释了淳的绘画所具有的去中心化的力量,即通常的、以对象为导向的、周密的思维。我的分析以弗洛伊德的梦境逻辑概念为基础。弗洛伊德关于梦的研究使我能够将淳于乔的创作过程视为一种翻译工作,艺术家将前意识元素翻译成我们--观众--在画布上看到的图像。在第 4 部分中,我对两位艺术家进行了比较研究,我依据柏格森对直觉重要性的阐述,说明阿尔特努尔姆和淳的艺术作品都向我们揭示了生活的非客观层面,其中行动、过程和可能性优先于客观存在的事物。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Self-abnegation, Decentering of Objective Relations, and Intuition of Nature: Toomas Altnurme’s and Cao Jun’s Art
This article analyzes the artwork of two seemingly distant contemporary artists – Toomas Altnurme and Cao Jun – elucidating their creative processes through the theoretical frameworks of Martin Heidegger, Sigmund Freud, and Henri Bergson. In Section 1, I offer reasons for a side-by-side examination of Altnurme’s and Jun’s art. In my discussion of Altnurme’s art in Section 2, I argue that his process exemplifies Heidegger’s view that artists must abnegate themselves in order for their creations to come into being. In Section 3, I elucidate Jun’s painting in its power to decenter the usual, object-oriented, circumspection of the mind. I ground my analyses in Freud’s concept of dream logic. Freud’s work on dreams allows me to approach Jun’s creative process as a work of translation whereby the artist translates the preconscious elements into images that we – the audience – then see on canvas. In Section 4, where I offer a comparative examination of both artists, I rely on Bergson’s articulation of the importance of intuition in order to show that both Altnurme and Jun create artworks that disclose to us the non-objective dimension of life wherein action or process and possibility take precedence over objectively existing things.
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来源期刊
Open Philosophy
Open Philosophy Arts and Humanities-Philosophy
CiteScore
1.40
自引率
20.00%
发文量
25
审稿时长
15 weeks
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