面對文化語境與跨系統挪用的藝術困境

Facing the Dilemma of Art in Cultural Context and Cross-System Appropriation

現成物在介入藝術的界定範疇時，帶入的絕非單純的藝術形式認定問題，而是以整個現實世界作為瓦解藝術內在封閉性的語境基礎。當西方視覺藝術試圖以形式美學構築藝術主體性的時刻，觀念藝術披著概念本位的理性邏輯外衣，批判傳統感性形式，藉由學術語言的論述支配權取得，有效轉移藝術的判斷界定。有無藝術思考的前提成為「是不是藝術」的宣告，能掌握這觀念藝術的意識形態基礎，解放藝術形式成為人人可為的趣味遊戲。但過去觀念藝術並未馬上投入世俗化的行列，或許藝術概念的抽象性和現代主義形式的抽象外顯事實，依然影響著大部分藝術範圍的認知經驗。當藝術創作真正可以無關藝術家實質的形式創造，擅用消費體制的代工生產，讓社會大眾文化語境的普遍性經驗成為藝術容易選擇的方向，藝術的現實化轉為以社會學式觀察對象的方式存在。後現代理論真的能讓藝術成了文化語境的附屬狀態？前提當然是讓藝術的概念界定從感受系統，轉移成為有效性的社會溝通系統，讓語境的論述模式掌握事件相對性框架的解釋權力。從文化語境觀看，藝術成了語言詮釋下的社會性副產品。如果我們重新審視羅莎琳．克勞斯（Rosalind E. Krauss, 1941–）對雕塑的文化語境設定，以行使其後現代擴張理論的作法，就不難發現紀念碑雕塑設定基礎造就擴張的謬誤問題。文化語境的相對觀看角度壓抑藝術的主體性建構，社會系統的任意導入為當代藝術製造更多的外在激擾。藝術必須不以社會功能與語言溝通系統的設定角度，作為介入社會的特殊存在樣態以達到自我精神目的感受，當代藝術的未來才能逃離無限擴張的空虛狀態。

When ready-mades are identified as art, it is not simply a matter of identifying art forms, but uses the whole world as the contextual basis for disintegrating the inherent closure of art. When visual art tries to construct artistic subjectivity with formal aesthetics, conceptual art is cloaked in concept-based rational logic, criticizes traditional perceptual forms, obtains dominance through academic language discourse, and effectively shifts the judgment and definition of art. Whether or not the premise of thinking about art has become a declaration of whether it is art, and if you can master this basic ideology of conceptual art, liberating the art form has become a fun game that everyone can play, but conceptual art has not immediately become secular. Perhaps the abstraction of concepts and the abstract outward forms of modernist still influence much of the cognitive experience of art. Until artistic creation can make use of the OEM production of the consumption system, which has nothing to do with the artist’s substantive creation, and then the universal experience of mass cultural context become the primary choice of realistic art, that is a sociological object of observation. Can postmodern theory really make art an accessory state to the cultural context? On the premise that the definition of art concept transfers from sensory system to effective social communication, contextual discourse mode hold the interpretive power of the relativity framework of events. From the perspective of cultural context, art has become asocial by-product of language interpretation. If we revisit Rosalind E. Krauss’s cultural context of sculpture in exercise of her postmodern expansion theory, it is not difficult to find that the monument is set as a sculpture-based construction into the fallacy of expansion theory. The relative viewing angle of cultural context suppresses the subjective construction of art, and the arbitrary introduction of social systems cause more external disturbances for contemporary art. Art cannot become a special existence of society from the systematic perspective of social function and language communication, so as to achieve self-spirit as the purpose of sensitivity, and the future of contemporary art can escape the empty state of infinite expansion.