葛羅伊斯的藝術觀：在檔案和媒介中生產作品

Groys’View of Art: Producing Work in the Archives and Media

本文探討了藝術哲學家鮑里斯‧葛羅伊斯如何重估前衛藝術的當代影響，旨在建立一種能夠實現某種不朽生產的技術政治。由於葛羅伊斯將俄羅斯的例外情況置於全球化的世界形象中，他能夠避開以西方為中心的歷史理性，暫停對市場社會的商品批判，並預見現代性邊緣的藝術人性即將到來。文章首先表明，葛羅伊斯對現代性的非典型理解來自於優先考慮藝術作為真理條件，並將俄羅斯和歐洲的古典前衛派視為歷史敘事。從此藝術史觀，藝術不是美學品味的消費意識，而是詩學事物的生產技術。文中進階解說，藝術作品處於檔案文化和媒介社會的雙元環境裡，作為生產的技術條件。這篇論文主要分成四段論證。第壹節主張，葛羅伊斯針對藝術現代性提出獨特的見解，其視野超越了傳統和現代的哲學斷裂、歐洲和俄國的文化鴻溝。第貳節指出，前衛藝術的技術生產可以用自我的設計歷史和影像的策展方法特徵化。第叁節分析，檔案與媒介的技術機制，它們各自遵循著創新的符號經濟和猜疑的象徵經濟。一方面，文化檔案和世俗領域在進行符號和事物的創新交換。另方面，文化檔案中的有價值作品會受到名為社會媒介的另個世俗領域之挑戰而貶值，在那裡象徵符號被討價還價以獲取其物質載體。第肆節總結，葛羅伊斯的藝術生產理論重新肯認了前衛藝術派和神聖社會學的親近性，並最終想像到技術文化的生態學未來。

This essay examines how the art philosopher Boris Groys revalued the contemporary effects of avant-garde arts, aiming to establish a politics of technology that would accomplish some kind of immortal production. Because Groys placed the exceptional Russian case into the image of a globalized world, he was able to avoid Western-centric historical rationality, suspend commodity criticism of market societies, and anticipate the imminent arrival of artistic humanity on the fringes of modernity. The article first shows that Groys’atypical understanding of modernity comes from prioritizing art as a truth condition and regarding the classical avant-garde across Russia and Europe as one historical narrative. From this perspective of art history, art is not the consumer consciousness of aesthetic taste, but the production technique of poetic things. The article further explains that works of art are located in the dual environment of archival culture and media society as technical conditions for production. The paper is divided into four main arguments. Section One asserts that Groys presents a unique insight into artistic modernity with a horizon beyond the philosophical break between tradition and modernity, the cultural divide between Europe and Russia. Section Two points out the technical production of avant-garde arts can be characterized by the history of self-design and the method of image curation. Section Three analyzes the technical mechanisms of archives and media, each of which follows a semiotic economy of innovation and a symbolic economy of suspicion. On the one hand, cultural archives and the profane realm are engaged in an innovative exchange of signs and things. On the other hand, valuable works in cultural archives are devalued by challenges from anther profane realm called societal media, where symbolic signs are bargained for their material carriers. Section Four concludes that Groys’theory of artistic production reaffirms the closeness of the avant-garde and sacred sociology, and ultimately imagines an ecological future of technological culture.