原創，自主性，與否定性的迷思──前衛藝術運動中的幾個主軸概念及其轉化

Main concepts of the Avant-Garde Mouvement and its Metamorphosis

本文試著以一個較為後設（並期望較為客觀）的當代視角來重新解讀二十世紀西方藝術的重要運動－－前衛藝術運動，主要藉助從八零年代起現代與後現代論戰之後的一些重要討論及2010 以來的幾個有關前衛藝術的重要發表為主軸交錯辨證，分別從馬泰．卡林內斯庫(Matei Calinescu) (1987)對於現代性提出了一種哲學爭議的脈絡辯證開始，再加上法蘭克福學派中特別是阿多諾的美學理論，以及晚期布赫迪厄藝術社會學觀點交錯辯證。最後則以部分菲利．胡珊(Philippe Roussin)與尚．皮爾．孔梅第(Jean-Pierre Cometti)的研究成果進行比較與補充。在討論前衛藝術運動書寫中對照與其同時發展的法蘭克福學派「批判理論」的否定美學，釐清「批判理論」角度對此提出如顛覆(Subversion)與解放(Emancipation)等核心精神的意涵，並針對前衛藝術經常使用的兩個重要核心理念──「原創」與「自主性」──併討論。簡言之，本文將以這些關鍵概念為主軸，並以現代主義為文本與情境脈絡，分別針對其中牽涉的諸多重要命題與問題意識提出評述，主要是因為這些重點往往跨越前衛運動的範疇，持續在當代藝術中發生作用。

This article intends to re-examine the Avant-Garde art movement, an important art movement in the Western world during the 20th century, from a more objective, contemporary perspective. Its analytical discussion is based on discourses about the modern-and-postmodern debates during the 80’s and the important crisscross dialectic in some publications after 2010. It is expected new findings will arise from this comparative study. This study applies theories summarized from Matei Calinescu (1987), T.Adorno, Pierre Bourdieu, Philippe Roussin (2010) and Jean-Pierre Cometti (2010) as a basis for the analysis and will use the core writings of the Frankfort School as a comparison. Its main purpose is to clarify the main ideas of the aesthetics of negation of the Frankfort School such as “Subversion” or “Emancipation”. This article will also discuss the terms and concepts of “Originality” and “Autonomie” that are frequently used in modern art. This article will use these key notions as the core structure and modernity as the context for the discussion of some relatively important problems and issues in the field. Besides, these problems and issues go beyond the domain of the Avant-Garde to a wider dimension, continuing to influence the development of contemporary art.