托尼·希顿艺术作品中的器物与身体

IF 3.4 2区 哲学 Q2 BUSINESS
M. Zundel
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引用次数: 0

摘要

“艺术超越自身”;它超越了风格、惯例和创造者(Agamben 1999,33)。以安装五块大小不同的白色波特兰石块为例,这些石块排列成半圆形,直径约25英尺。正在接近圆形中的正方形?(2007年,见图1)由Southportand伦敦雕塑家和行为艺术家Tony Heaton创作,我们第一次遇到了一座由圣保罗大教堂、白金汉宫和英格兰银行相同的石头建造的不起眼的堡垒。狭窄的缝隙通向内部,坚硬的固体表面点缀着曲折的形状。我们的想象将不同的街区沿着一个不相交的圆圈连接在一起,这个圆圈刻在石头的顶部,反映了铺在地板上的第二个圆环。在三个街区中间凿出的三角形棱镜在图的中心创造了一个正方形的幻觉。在他位于绍斯波特的尘土飞扬、寒冷的工作室里,希顿坐在一壶超大的茶后面,他告诉我,他痴迷于层次。在一些帮助下,我试图解开圆中的正方形?这里有用于建造权力中心的宏伟的白色石头的雄伟华丽。外圈类似于无休止盘旋的车轮留下的轨道,无法穿过狭窄的通道到达由尖锐边缘和陡峭楼梯组成的中心。正方形对圆形?它将所有事物固有的模糊性程式化:它们包含和排斥、保护和伤害、创造和毁灭的能力。后来,我想到了伊莱恩·斯卡里(Elaine Scarry,1985)的挑衅,即技巧将人类的感知能力超越身体的边界延伸到外部世界:外套模仿并向外延伸我们的皮肤;椅子模仿并同样向外延伸人类脊椎的形状;即使是房间或房子也像身体一样,在自我周围设置界限,同时减少了通过门窗进入世界的机会。人类的生命本质上依赖于这种假体。即使是文化也只有在过多的手工艺品创造出身份时才能形成:裁缝、建筑商或商人;受机构或公民机构的真实或想象的墙保护的公民。在Haraway(1985)的标志性措辞中,我们都是半机械人。Scarry(1985)认为,人工制品吸收了疼痛,反过来又向内作用,改变了我们。外套吸收了寒冷,让我们在温暖的火炉之外漫步;椅子
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Artifices and Bodies in the Artworks of Tony Heaton
“Art points beyond itself”; it transcends style, convention, and the maker (Agamben 1999, 33). Take the installation of five large and differently sized blocks of white Portland stone arranged in a semi-circular pattern, some twenty-five foot in diameter. Approaching Squareinthecircle? (2007, see Figure 1) by Southportand London-based sculptor and performance artist Tony Heaton, we first encounter an uninviting fortress made from the same stone as St Paul’s Cathedral, Buckingham Palace, and the Bank of England. Narrow gaps lead to the inside, where hard-edged, solid surfaces are interspersed with zigzagging shapes. Our imagination connects the disparate blocks along a disjointed circle carved into the stones’ tops, mirroring a second ring paved into the floor. Triangular prisms hewn down the middle of three blocks create the illusion of a square in the centre of the figure. Sitting behind an oversized pot of tea in his dusty, cold studio in Southport, Heaton tells me he is obsessed with layers. With some help, I attempt to unpeel Squareinthecircle? There is the majestic opulence of the grand white stone used in the construction of centres of power. The outer rings resemble tracks left by endlessly circling wheels unable to squeeze through the narrow passageways to a centre dominated by sharp edges and steep stairways. Squareinthecircle? points beyond itself as it stylizes the ambiguity inherent in all things that are made: their capacity to include and exclude, protect and harm, create and destroy. Later, I come to think of Elaine Scarry’s (1985) provocation that artifices extend human sentience beyond the boundaries of the body into the outside world: coats mimic and extend outwards our skin; chairs mimic and equally extend outwards the form of the human spine; even rooms or houses act like bodies, putting boundaries around the self while reducing access to the world to doors and windows. Human life is inherently dependent on such prostheses. Even culture can only take shape when the excess of artefacts creates identities: tailors, builders, or merchants; citizens protected by the real or imagined walls of institutional or civic bodies. In Haraway’s (1985) iconic phrasing, we are all cyborgs. Scarry (1985) argues that artefacts absorb pain and, in turn, work inwards and change us. Coats absorb the cold, letting us roam beyond the warming hearth; chairs
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来源期刊
CiteScore
6.20
自引率
10.00%
发文量
38
期刊介绍: Business Ethics Quarterly (BEQ) is a peer-reviewed scholarly journal that publishes theoretical and empirical research relevant to the ethics of business. Since 1991 this multidisciplinary journal has published articles and reviews on a broad range of topics, including the internal ethics of business organizations, the role of business organizations in larger social, political and cultural frameworks, and the ethical quality of market-based societies and market-based relationships. It recognizes that contributions to the better understanding of business ethics can come from any quarter and therefore publishes scholarship rooted in the humanities, social sciences, and professional fields.
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