他的著作《走向公眾》(Going Public, 2010)、《揣測與媒介:媒介現象學》(Unter Verdacht: Eine Phanomenologie der Medien, 2000)有中文簡體版,廣為學術界與藝術圈流傳。其他包括:《共產主義後記》(The Communist Postcript, 2010)、《史達林主義的整體藝術:前衛藝術、美學獨裁及超越》(The Total Art of Stalinism: Avant-...
他的著作《走向公眾》(Going Public, 2010)、《揣測與媒介:媒介現象學》(Unter Verdacht: Eine Phanomenologie der Medien, 2000)有中文簡體版,廣為學術界與藝術圈流傳。其他包括:《共產主義後記》(The Communist Postcript, 2010)、《史達林主義的整體藝術:前衛藝術、美學獨裁及超越》(The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship and Beyond, 2011)、《反哲學導論》(Introduction to Antiphilosophy, 2012)、《歷史變成形式:莫斯科觀念主義》(History Becomes Forms: Moscow Conceptualism, 2013)、《論新》(On The New, 2014)。
Modern art operated not only as a machine of inclusion of everything that was not regarded as art before its emergence but also as a machine of exclusion of everything that imitated already existing art patterns in a naive, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of modern art is not a pluralistic fi eld but a f i eld strictly structured according to the logic of contradiction . It is a fi eld where every thesis is supposed to be confronted with its antithesis. (查看原文)
Already Malevich said that he was struggling against the sincerity of the artist. And Broodthaers said—when he started to do art—that he wanted to do something insincere. To be insincere means in this context to make art beyond all taste—even beyond one’s own taste. (查看原文)
0 有用 HAW 2025-11-11 17:59:49 北京
启发性很强
5 有用 恶鸟 2017-11-23 08:54:24
意识形态到愿景到未来的意象,这样脉络对艺术和政治的理解很清晰,这也明白艾未未的狡猾策略,用意识形态的愿景来挑战政权比挑战艺术市场更有效。而杜尚在美术馆里的小便池到达了教堂里耶稣圣象的力量。
0 有用 ZHOU 2021-12-09 20:48:12
妈的,绪论就醍醐灌顶
0 有用 林嬰 2018-04-14 18:04:08
喜欢对本雅明、城市以及多重作者的观点
0 有用 心安之处是吾乡 2024-05-03 19:46:53 湖北
相当有洞见的一本书 值得一读再读