(1424)
|
| 字化成宇：從象徵到真實 |
| Words Such As Worlds: From the Symbolic to the Real |
 |
| 作者 |
林耀盛 |
| Author |
Yaw-Sheng Lin |
| 關鍵詞 |
徐冰、
想像、
象徵、
真實、
故事
|
| Keywords |
imaginary,
real,
story,
symbolic,
Xu Bing
|
| 摘要 |
一如徐冰先生在造字上的創意，文字化成無限宇宙，文字如世界（words such as worlds）開展積極想像與創新實踐，徐冰《背後的故事》藝術裝置部署出文化語境的「再脈絡化」情節。藝術有大寫藝術（Art）或小寫藝術（art）之別，並非以原創或仿真來區分，更非以作品格局大小來歸類，而是涉及藝術即為一種時代觀點的大他者意義。本文將透過徵候式閱讀（symptomatic reading）策略，由精神分析家Lacan的真實界面向，嘗試詮釋藝術符號的故事。
Lacan意有所指的指稱，主體不是一個問題，而是一個回答，是真實界對大他者、符號秩序所提問題的回答。真實界是對符號界的抵抗，因此也不能回答大他者的問題，因而，主體正是這種不可能性的空白。藝術作品的肉眼（eye）觀看這一端，是想像界到符號界。藝術作品背後故事的另一端凝視（gaze），是從符號界到真實界。藝術符號可以無限置換與重複，但流當的真實界，不再錯身而過，終將回到原來的地方。
這原址，是所謂主體故事的開端，也是結語。古調（悼）自愛，今人不彈（談）。 |
| Abstract |
As Mr. Xu Bing’s creativity in the formation of Chinese character and dispositif of art, his coinage of language turns the words into the infinite universe, that is, words such as worlds through active imagination and innovation artworks. Xu Bing’s representative series, Background Stories, deployed the cultural contextualizing plot to demonstrate the Art (capital letter) as an era of significance. This article will be presented through the symptomatic reading strategy to cite the psychoanalyst Lacan’s the real order, try to interpret the story of his artistic meaning.
As Lacan’s allegations, the subject is not a problem, but an answer, it was the Real’s answer to the symbolic order. The power of the real is to resist the symbolic meaning, therefore does not answer the questions, thus, it is the barred subjectivity. On the one hand, to view Xu Bing’s artworks Background Stories through the naked eye is the process from the imaginary to the symbolic. On the other hand, to view through the psychanalytical gaze is the trajectory from the symbolic to the real. Signifiers of the Art is unlimited and can be interpreted by replacement and repetition, but the real eventually returned to the original place. This site is called the beginning of the story and also the end of the plot paradoxically. It is called the real order of the background story. |
|
|
|
